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"content": "\u003cp>On Friday night, a new American monarch rose to power beneath a cascade of rose petals, a cracked mask and the ballads of Whitney Houston.\u003c/p>\n\u003cp>But she didn't just use the glamour, comedy, acting and lip syncing prowess that fans of \u003ca href=\"http://www.npr.org/2016/08/25/491338249/shante-he-stays-rupaul-reflects-on-decades-of-drag-and-2-emmy-nominations\">RuPaul's Drag Race\u003c/a> have come to expect from America's Next Drag Superstar. Sasha Velour relies on brains.\u003c/p>\n\u003cp>\u003cstrong>An \"amateur drag historian\"\u003c/strong>\u003c/p>\n\u003cp>When the 30-year-old queen is at home in Brooklyn, N.Y., she produces and stars in a monthly drag cabaret event called Nightgowns. She co-founded \u003cem>Velour\u003c/em>, a magazine spotlighting lesser-known styles and issues in drag. She received an MFA from the Center for Cartoon Studies and studied political art as a Fulbright Scholar in Moscow.\u003c/p>\n\u003cp>She also considers herself an \"amateur drag historian,\" acknowledging there have always been different schools of drag — all competing, warring, pushing the art in new directions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But for Velour, her style comes from simultaneously paying tribute to the queens who came before her and blocking out any voices that might try to dictate what her drag should be.\u003c/p>\n\u003cp>\"I want to do something that is not just a pastiche of drag that's come before, but is really authentically me,\" she said. \"I try to tune out all the drag that's out there and tap into the drag that I was doing when I was a little kid — when I didn't even know the word 'queer' or that gay people were out there. ... Tapping into the things I've always loved and building a drag that honors those.\"\u003c/p>\n\u003cp>And now that season nine is a wrap, Velour can officially add being the ninth queen crowned on \u003cem>RuPaul's Drag Race\u003c/em> to her resume — bringing her eclectic, academic and sometimes controversially intellectual brand of drag to the main stage of American queer culture.\u003c/p>\n\u003cfigure id=\"attachment_88504\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-88504 size-medium\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-800x363.jpg\" alt=\"\" width=\"800\" height=\"363\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-800x363.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-160x73.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-768x349.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-1020x463.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-1920x872.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-1180x536.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-960x436.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-240x109.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-375x170.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-520x236.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sasha Velour competed against 13 other drag queens in season nine of RuPaul's Drag Race to snatch the crown and a prize of $100,000.\u003cbr> (Courtesy of VH1)\u003c/figcaption>\u003c/figure>\n\u003cp>\"I mean, it's been one of the biggest things I've gotten pushback about, is being an intellectual and what that means,\" she said. \"I grew up in this house of intellectuals, and for me it wasn't like a negative thing. And what I've discovered is for a lot of people it is. But I think knowing history, liking to talk about ideas — like, I just genuinely like to geek out and go on these intellectual thought journeys. I want to show people it's not elitist to be a deep thinker.\"\u003c/p>\n\u003cp>\u003cstrong>Advancing an art form\u003c/strong>\u003c/p>\n\u003cp>As reigning queen of the \u003cem>Drag Race\u003c/em> empire, Velour said she plans to use her platform — and cash prize of $100,000 — to bring other LGBTQ artists across America into the spotlight. Over the next year, she hopes to take projects like Nightgowns and \u003cem>Velour\u003c/em> magazine across the country, showcasing and connecting drag communities from America's big cities and small towns.\u003c/p>\n\u003cp>\"I just want to be able to get kings and queens and nonbinary performers working together and having discussions about what drag is currently, what it has been and where we can move it to that is truly new,\" she said. \"I think if we work together and have a conversation, we can really advance the art form.\"\u003c/p>\n\u003cp>Velour also plans to follow in the footsteps of other notable \u003cem>Drag Race\u003c/em> alumni by dipping her toes into video production and music — albeit with an noticeably Velourian spin.\u003c/p>\n\u003cp>\"When I was on the show, I said I will never create drag queen music. There's too much of it and it's horrible,\" she said. \"But then they kind of tricked me into [doing] this weird, academic talk-rapping that's — it's not for everyone, but the people who love it are really into it.\"\u003c/p>\n\u003cp>The \"talk-rapping\" she's referring to, for the record, is in two collaborations with fellow season nine contestants — \"C.L.A.T.\" and RuPaul's \"Category Is...\" remix, which was produced as a challenge on the show.\u003c/p>\n\u003cp>In one verse, Velour opens with: \"Radical, magical, liberal art. Gender is a construct; tear it apart.\" Which, for her, is what the art of drag is all about — challenging gender and empowering people to follow their own paths.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=r0o0PK7AXFE\u003c/p>\n\u003cp>\"A lot of people still have the idea that drag goes from one end of the gender spectrum to the other end of the gender spectrum, and they expect drag queens to be masculine out of drag and hyper-feminine in drag,\" she said. \"I think that portrays a lot of binary thinking and ultimately a lot of misogyny. I hope people appreciate that drag always has been more about the blurriness of gender rather than these two extremes.\"\u003c/p>\n\u003cp>\u003cstrong>\"We make ourselves royals\"\u003c/strong>\u003c/p>\n\u003cp>As Velour watched her victory Friday night as the first queen ever to be crowned on VH1, she had a moment thinking back to her childhood — before she had other LGBTQ people in her life or understood the world of gay culture.\u003c/p>\n\u003cp>\"I imagined scrolling through channels and just discovering [\u003cem>Drag Race\u003c/em>] on VH1. This, like, giant theater full of people cheering for queer people in the most glamorous, fabulous costumes — just being emotional, being angry about politics, being truly themselves. And I thought about how powerful that would be, and it was really humbling,\" Velour said. \"That's really the message of drag in the end. We make ourselves royals.\"\u003c/p>\n\u003cp>\"I hope that speaks to people and reminds them that America is full of scrappy, strange, beautiful people making magic for themselves.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The third issue of \u003cem>Velour\u003c/em> comes out on July 5 and will include the contestants from season nine of \u003cem>RuPaul's Drag Race\u003c/em>. It will also feature discussions on the connection between transgender politics, liberation and the drag community.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27RuPaul%27s+Drag+Race%27+Winner+Sasha+Velour+Cut+From+A+Different+Fabric&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Friday night, a new American monarch rose to power beneath a cascade of rose petals, a cracked mask and the ballads of Whitney Houston.\u003c/p>\n\u003cp>But she didn't just use the glamour, comedy, acting and lip syncing prowess that fans of \u003ca href=\"http://www.npr.org/2016/08/25/491338249/shante-he-stays-rupaul-reflects-on-decades-of-drag-and-2-emmy-nominations\">RuPaul's Drag Race\u003c/a> have come to expect from America's Next Drag Superstar. Sasha Velour relies on brains.\u003c/p>\n\u003cp>\u003cstrong>An \"amateur drag historian\"\u003c/strong>\u003c/p>\n\u003cp>When the 30-year-old queen is at home in Brooklyn, N.Y., she produces and stars in a monthly drag cabaret event called Nightgowns. She co-founded \u003cem>Velour\u003c/em>, a magazine spotlighting lesser-known styles and issues in drag. She received an MFA from the Center for Cartoon Studies and studied political art as a Fulbright Scholar in Moscow.\u003c/p>\n\u003cp>She also considers herself an \"amateur drag historian,\" acknowledging there have always been different schools of drag — all competing, warring, pushing the art in new directions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But for Velour, her style comes from simultaneously paying tribute to the queens who came before her and blocking out any voices that might try to dictate what her drag should be.\u003c/p>\n\u003cp>\"I want to do something that is not just a pastiche of drag that's come before, but is really authentically me,\" she said. \"I try to tune out all the drag that's out there and tap into the drag that I was doing when I was a little kid — when I didn't even know the word 'queer' or that gay people were out there. ... Tapping into the things I've always loved and building a drag that honors those.\"\u003c/p>\n\u003cp>And now that season nine is a wrap, Velour can officially add being the ninth queen crowned on \u003cem>RuPaul's Drag Race\u003c/em> to her resume — bringing her eclectic, academic and sometimes controversially intellectual brand of drag to the main stage of American queer culture.\u003c/p>\n\u003cfigure id=\"attachment_88504\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-88504 size-medium\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-800x363.jpg\" alt=\"\" width=\"800\" height=\"363\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-800x363.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-160x73.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-768x349.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-1020x463.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-1920x872.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-1180x536.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-960x436.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-240x109.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-375x170.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/groupphoto1_custom-3a0e7684b202dab0c561a18949918ef3041cc302-520x236.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sasha Velour competed against 13 other drag queens in season nine of RuPaul's Drag Race to snatch the crown and a prize of $100,000.\u003cbr> (Courtesy of VH1)\u003c/figcaption>\u003c/figure>\n\u003cp>\"I mean, it's been one of the biggest things I've gotten pushback about, is being an intellectual and what that means,\" she said. \"I grew up in this house of intellectuals, and for me it wasn't like a negative thing. And what I've discovered is for a lot of people it is. But I think knowing history, liking to talk about ideas — like, I just genuinely like to geek out and go on these intellectual thought journeys. I want to show people it's not elitist to be a deep thinker.\"\u003c/p>\n\u003cp>\u003cstrong>Advancing an art form\u003c/strong>\u003c/p>\n\u003cp>As reigning queen of the \u003cem>Drag Race\u003c/em> empire, Velour said she plans to use her platform — and cash prize of $100,000 — to bring other LGBTQ artists across America into the spotlight. Over the next year, she hopes to take projects like Nightgowns and \u003cem>Velour\u003c/em> magazine across the country, showcasing and connecting drag communities from America's big cities and small towns.\u003c/p>\n\u003cp>\"I just want to be able to get kings and queens and nonbinary performers working together and having discussions about what drag is currently, what it has been and where we can move it to that is truly new,\" she said. \"I think if we work together and have a conversation, we can really advance the art form.\"\u003c/p>\n\u003cp>Velour also plans to follow in the footsteps of other notable \u003cem>Drag Race\u003c/em> alumni by dipping her toes into video production and music — albeit with an noticeably Velourian spin.\u003c/p>\n\u003cp>\"When I was on the show, I said I will never create drag queen music. There's too much of it and it's horrible,\" she said. \"But then they kind of tricked me into [doing] this weird, academic talk-rapping that's — it's not for everyone, but the people who love it are really into it.\"\u003c/p>\n\u003cp>The \"talk-rapping\" she's referring to, for the record, is in two collaborations with fellow season nine contestants — \"C.L.A.T.\" and RuPaul's \"Category Is...\" remix, which was produced as a challenge on the show.\u003c/p>\n\u003cp>In one verse, Velour opens with: \"Radical, magical, liberal art. Gender is a construct; tear it apart.\" Which, for her, is what the art of drag is all about — challenging gender and empowering people to follow their own paths.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/r0o0PK7AXFE'\n title='//www.youtube.com/embed/r0o0PK7AXFE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\"A lot of people still have the idea that drag goes from one end of the gender spectrum to the other end of the gender spectrum, and they expect drag queens to be masculine out of drag and hyper-feminine in drag,\" she said. \"I think that portrays a lot of binary thinking and ultimately a lot of misogyny. I hope people appreciate that drag always has been more about the blurriness of gender rather than these two extremes.\"\u003c/p>\n\u003cp>\u003cstrong>\"We make ourselves royals\"\u003c/strong>\u003c/p>\n\u003cp>As Velour watched her victory Friday night as the first queen ever to be crowned on VH1, she had a moment thinking back to her childhood — before she had other LGBTQ people in her life or understood the world of gay culture.\u003c/p>\n\u003cp>\"I imagined scrolling through channels and just discovering [\u003cem>Drag Race\u003c/em>] on VH1. This, like, giant theater full of people cheering for queer people in the most glamorous, fabulous costumes — just being emotional, being angry about politics, being truly themselves. And I thought about how powerful that would be, and it was really humbling,\" Velour said. \"That's really the message of drag in the end. We make ourselves royals.\"\u003c/p>\n\u003cp>\"I hope that speaks to people and reminds them that America is full of scrappy, strange, beautiful people making magic for themselves.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The third issue of \u003cem>Velour\u003c/em> comes out on July 5 and will include the contestants from season nine of \u003cem>RuPaul's Drag Race\u003c/em>. It will also feature discussions on the connection between transgender politics, liberation and the drag community.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27RuPaul%27s+Drag+Race%27+Winner+Sasha+Velour+Cut+From+A+Different+Fabric&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Chances are you remember seeing a wonderfully bizarre YouTube video going around five years ago called '\u003ca href=\"https://www.youtube.com/watch?v=iRZ2Sh5-XuM\" target=\"_blank\">Going to the Store\u003c/a>,' starring a floppy nude body that looks like a mannequin made out of Silly Putty. Two years later, it was followed by '\u003ca href=\"https://www.youtube.com/watch?v=wBqM2ytqHY4\" target=\"_blank\">Late for Meeting\u003c/a>,' which upped the weirdness ante in the insane rubbery male figure department.\u003c/p>\n\u003cp>Now, finally, creator David Lewandowski has released the third in the series: 'Time for Sushi,' which finds our floppy hero reproducing asexually on the streets, trains, and beaches of Japan. Swallow your coffee before pressing play, 'cause it's a doozy:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bcXiwNjkhxU\u003c/p>\n\u003cp>If it takes Lewandowski another four years before his next rubber-guy masterpiece, that's fine with me. In the meantime, he's selling a \u003ca href=\"https://goingtothe.store/products/youtube-inbox\" target=\"_blank\">book of actual messages sent to his YouTube channel\u003c/a> from confused viewers. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Chances are you remember seeing a wonderfully bizarre YouTube video going around five years ago called '\u003ca href=\"https://www.youtube.com/watch?v=iRZ2Sh5-XuM\" target=\"_blank\">Going to the Store\u003c/a>,' starring a floppy nude body that looks like a mannequin made out of Silly Putty. Two years later, it was followed by '\u003ca href=\"https://www.youtube.com/watch?v=wBqM2ytqHY4\" target=\"_blank\">Late for Meeting\u003c/a>,' which upped the weirdness ante in the insane rubbery male figure department.\u003c/p>\n\u003cp>Now, finally, creator David Lewandowski has released the third in the series: 'Time for Sushi,' which finds our floppy hero reproducing asexually on the streets, trains, and beaches of Japan. Swallow your coffee before pressing play, 'cause it's a doozy:\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/bcXiwNjkhxU'\n title='//www.youtube.com/embed/bcXiwNjkhxU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If it takes Lewandowski another four years before his next rubber-guy masterpiece, that's fine with me. In the meantime, he's selling a \u003ca href=\"https://goingtothe.store/products/youtube-inbox\" target=\"_blank\">book of actual messages sent to his YouTube channel\u003c/a> from confused viewers. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A look at hexes floating around Hollywood, a twisted tale from the 1700s, a warning about catacombs, and -- to lighten the mood -- an ode to onion rings and fries.\u003c/p>\n\u003cp>[audio src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2017/06/Curses.mp3\" title=\"Chilling Pop Culture Curses, from Poltergeist to Drake\" program=\"The Cooler\" image=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/clo.jpg\"]\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>Drake has a lot more in common with doomed horror movies than you'd think.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/1463576898-drake-scared.gif\">\u003cimg class=\"size-full wp-image-87682 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/1463576898-drake-scared.gif\" alt=\"\" width=\"550\" height=\"298\">\u003c/a>\u003c/p>\n\u003cp>The 18th century wasn't a great time to be a sex-positive woman. Just ask Margaret Dickson, who was hanged for some bullshit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/f6b9bf40f4356ec378d55439d83e1702.gif\">\u003cimg class=\"size-full wp-image-87683 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/f6b9bf40f4356ec378d55439d83e1702.gif\" alt=\"\" width=\"500\" height=\"219\">\u003c/a>\u003c/p>\n\u003cp>Two French teens recently learned that age-old maxim: it's all fun and games until you get lost in the Paris catacombs for THREE DAYS!\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/3298361pdrgqpc3y5.gif\">\u003cimg class=\"size-full wp-image-87684 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/3298361pdrgqpc3y5.gif\" alt=\"\" width=\"500\" height=\"236\">\u003c/a>\u003c/p>\n\u003cp>Scientists claim that eating french fries will lead us all to early graves.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/oprah-won-t-accept-it.gif\">\u003cimg class=\"size-full wp-image-87685 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/oprah-won-t-accept-it.gif\" alt=\"\" width=\"480\" height=\"270\">\u003c/a>\u003c/p>\n\u003cp>And we ride out on \"Don't Kill My Vibe\" by finger-dancing enthusiast Sigrid:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xzonQoON9eo\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Until next week! \u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\" rel=\"noopener noreferrer\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\" rel=\"noopener noreferrer\">Twitter\u003c/a>!\u003c/p>\n\n",
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"headline": "Chilling Pop Culture Curses, from 'Poltergeist' to Drake",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A look at hexes floating around Hollywood, a twisted tale from the 1700s, a warning about catacombs, and -- to lighten the mood -- an ode to onion rings and fries.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>Drake has a lot more in common with doomed horror movies than you'd think.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/1463576898-drake-scared.gif\">\u003cimg class=\"size-full wp-image-87682 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/1463576898-drake-scared.gif\" alt=\"\" width=\"550\" height=\"298\">\u003c/a>\u003c/p>\n\u003cp>The 18th century wasn't a great time to be a sex-positive woman. Just ask Margaret Dickson, who was hanged for some bullshit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/f6b9bf40f4356ec378d55439d83e1702.gif\">\u003cimg class=\"size-full wp-image-87683 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/f6b9bf40f4356ec378d55439d83e1702.gif\" alt=\"\" width=\"500\" height=\"219\">\u003c/a>\u003c/p>\n\u003cp>Two French teens recently learned that age-old maxim: it's all fun and games until you get lost in the Paris catacombs for THREE DAYS!\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/3298361pdrgqpc3y5.gif\">\u003cimg class=\"size-full wp-image-87684 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/3298361pdrgqpc3y5.gif\" alt=\"\" width=\"500\" height=\"236\">\u003c/a>\u003c/p>\n\u003cp>Scientists claim that eating french fries will lead us all to early graves.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/oprah-won-t-accept-it.gif\">\u003cimg class=\"size-full wp-image-87685 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/oprah-won-t-accept-it.gif\" alt=\"\" width=\"480\" height=\"270\">\u003c/a>\u003c/p>\n\u003cp>And we ride out on \"Don't Kill My Vibe\" by finger-dancing enthusiast Sigrid:\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xzonQoON9eo'\n title='//www.youtube.com/embed/xzonQoON9eo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Until next week! \u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\" rel=\"noopener noreferrer\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\" rel=\"noopener noreferrer\">Twitter\u003c/a>!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cy-and-zahras-picks-guide-to-pride-no-mans-land-and-gang-of-seven",
"title": "Cy and Zahra's Picks: Guide to Pride, No Man's Land, and Gang of Seven",
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"headTitle": "Cy and Zahra’s Picks: Guide to Pride, No Man’s Land, and Gang of Seven | KQED",
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"content": "\u003cp>My co-host this week is comedian \u003ca href=\"http://www.zahracomedy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Zahra Noorbaksh,\u003c/a> co-host of the podcast \u003ca href=\"http://www.goodmuslimbadmuslim.com/\" target=\"_blank\" rel=\"noopener noreferrer\">#\u003cem>GoodMuslimBadMuslim\u003c/em>\u003c/a>, and \u003ca href=\"https://www.ybca.org/ybca-100\" target=\"_blank\" rel=\"noopener noreferrer\">recently named\u003c/a> one of 100 people shaping the future of culture. We barely had time to cover all the shows that mattered to us this week. Left out was the \u003ca href=\"https://stanfordjazz.org/stanford-jazz-festival-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">Stanford Jazz Festival \u003c/a>opening this week, including singer Tiffany Austin, clarinetist Anat Cohen, Natalie and daughter Sandy Cressman and Ravi Coltrane.\u003c/p>\n\u003cp>We also couldn’t fit in the opening of the play \u003ca href=\"https://www.berkeleyrep.org/season/1617/10668.asp\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>An Octoroon\u003c/em> at Berkeley Rep\u003c/a> on Friday, an adaptation and critique of a 19th century play about race. Director Eric Ting is terrific at deconstructing plays like this, and challenging the audience. And don’t forget: with Pride celebrations, public transit is your friend if you’re coming into San Francisco this weekend. Now here’s the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9bbVGNY40N8\u003c/p>\n\u003cp>\u003cstrong>June 23–25\u003c/strong>: With its many stages, after-parties and the big parade, \u003ca href=\"http://www.sfpride.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Pride\u003c/a> is simply too big to sum up in a couple of performers, events and shows, but we’ve tried. \u003ca href=\"http://www.thedykemarch.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Dyke March\u003c/a> is worth catching as it celebrates its 25th anniversary. And we’re both fans of \u003ca href=\"http://www.madamegandhi.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Madame Gandhi\u003c/a> (video above), appearing on the main stage on Sunday, June 25, for her feminist, period-positive message and great dance beats.\u003c/p>\n\u003cp>\u003ca href=\"http://www.margagomez.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Marga Gomez\u003c/a>, the heart of Bay Area Comedy, is one of the emcees on the main stage, and we’re hoping for good things from \u003ca href=\"https://www.facebook.com/HellaGayComedyShow/\" target=\"_blank\" rel=\"noopener noreferrer\">#HellaGayComedy\u003c/a> on Friday, June 23, at Club OMG in San Francisco, with Omar Qureshi, Jesus U.Bettawork, Cassandra Gorgeous, and others. And don’t be surprised if you see people in top hats and claw-like hands at Pride in honor of the Australian horror-flick character \u003ca href=\"http://www.newyorker.com/culture/rabbit-holes/the-babadook-is-a-frightening-fabulous-new-gay-icon\" target=\"_blank\" rel=\"noopener noreferrer\">The Babadook\u003c/a>, a creature who is feared, but also somehow a part of the family. In a recent twist, he’s \u003ca href=\"http://www.newyorker.com/culture/rabbit-holes/the-babadook-is-a-frightening-fabulous-new-gay-icon\" target=\"_blank\" rel=\"noopener noreferrer\">become a gay icon\u003c/a> of sorts. Details for San Francisco Pride \u003ca href=\"http://www.sfpride.org/\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=91HRfJwOuWo&t=449s\u003c/p>\n\u003cp>\u003cstrong>July 9\u003c/strong>: Zahra looked ahead on her calendar to find this second-Sunday-of-the-month lesbian, trans, women comedy show at the Ivy Room in Albany. Ash Fisher and Irene Tu of Man Haters headline \u003cem>No Man’s Land\u003c/em> — Tu was one of \u003ca href=\"http://ww2.kqed.org/arts/2016/07/11/women-to-watch-irene-tu/\" target=\"_blank\" rel=\"noopener noreferrer\">KQED’s Women to Watch\u003c/a> last year. Men, like me, are welcome, but as Zahra said, we may be the butt of a lot of jokes (or completely ignored). And it’s a bargain. With women making about 77 cents on the dollar to men, tickets are just $7.70 in advance, $10 at the door.\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/215884295\u003cbr>\n\u003c/aside>\n\u003cp>\u003cstrong>June 24\u003c/strong>: \u003cem>Notes Against the Ban\u003c/em> is a protest of the Trump Administration’s proposed travel ban, in the form of music from the seven Muslim-majority countries on the list: Iraq, Libya, Somalia, Sudan, Syria, Yemen and Iran. The \u003ca href=\"https://ww2.kqed.org/arts/2017/03/13/music-from-seven-muslim-majority-countries-in-notes-against-the-ban/\" target=\"_blank\" rel=\"noopener noreferrer\">Aswat Ensemble \u003c/a>has \u003ca href=\"https://ww2.kqed.org/arts/2017/03/13/music-from-seven-muslim-majority-countries-in-notes-against-the-ban/\" target=\"_blank\" rel=\"noopener noreferrer\">staged this concert as a way to bridge cultural suspicions through music\u003c/a>. Aswat founder Nabila Mango said she wants to “celebrate the beauty of ‘the others.’” Among other highlights, look for Sudanese vocalist Salma Al Assal, profiled in a KQED video (posted above). And for non-Arab & non-Farsi speakers like me, translations of each song will be projected on a screen for the audience. \u003ca href=\"http://www.brownpapertickets.com/event/2933963\" target=\"_blank\" rel=\"noopener noreferrer\">Details for the show at St. Cyprian’s in San Francisco are here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gbAJp1YarfU\u003c/p>\n\u003cp>\u003cstrong>June 24 & 25\u003c/strong>: Ubernerd \u003ca href=\"http://nerdist.com/tag/chris-hardwick/\" target=\"_blank\" rel=\"noopener noreferrer\">Chris Hardwick\u003c/a> of Comedy Central and the Nerdist is curating a show, and calling it the\u003cem> ID10T Festival\u003c/em>. On some level, it appears as if Hardwick just said to himself, “What do millennials like? Let’s mash together music, gaming, tech, comic books and comedy.” Not a bad idea, when you’re featuring Demetri Martin, Michael Che, Nikki Glaser, Garfunkel & Oates (the musical-comedy duo comprised of Riki Lindhome and Kate Micucci, two of Zahra’s favorites), Michael Ian Black, plus Sacramento native Brian Posehn. The main stage features music from rather nerdy bands including Weezer and OK Go, and includes Tank and the Bangas out of New Orleans, who won the NPR \u003ca href=\"http://www.npr.org/event/music/519418207/tank-and-the-bangas-tiny-desk-concert\" target=\"_blank\" rel=\"noopener noreferrer\">Tiny Desk Contest \u003c/a>this year. By the way, the title of the show, ID10T, is itself a nerd’s inside joke — it’s a made-up code for user error. In other words, the bug in the program is the person at the keyboard. That must be me. \u003ca href=\"http://id10tfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_hIl1eYiVc8\u003c/p>\n\u003cp>\u003cstrong>July 23–25\u003c/strong>: American symphony orchestras rarely program a whole evening of modern American music. But this weekend the San Francisco Symphony finishes its season with the sort of American Mavericks concert that Michael Tilson Thomas has made his specialty — the program includes Charles Ives, George Antheil (“A Jazz Symphony”), Lou Harrison, and a West Coast premiere from Michael Tilson Thomas himself, plus videos and dance. These multimedia shows can be a real treat.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Thanks to Zahra Noorbaksh for being our co-host this week!\u003c/p>\n\u003cfigure id=\"attachment_12295296\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12295296\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-800x434.jpg\" alt=\"Comedian Zahra Noorbaksh host the podcast #GoodMuslim,BadMuslim’\" width=\"800\" height=\"434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-800x434.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-768x416.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-1020x553.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-1920x1041.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-1180x640.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-960x520.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-520x282.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Comedian Zahra Noorbaksh, co-host of the podcast #GoodMuslim,BadMuslim \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>My co-host this week is comedian \u003ca href=\"http://www.zahracomedy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Zahra Noorbaksh,\u003c/a> co-host of the podcast \u003ca href=\"http://www.goodmuslimbadmuslim.com/\" target=\"_blank\" rel=\"noopener noreferrer\">#\u003cem>GoodMuslimBadMuslim\u003c/em>\u003c/a>, and \u003ca href=\"https://www.ybca.org/ybca-100\" target=\"_blank\" rel=\"noopener noreferrer\">recently named\u003c/a> one of 100 people shaping the future of culture. We barely had time to cover all the shows that mattered to us this week. Left out was the \u003ca href=\"https://stanfordjazz.org/stanford-jazz-festival-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">Stanford Jazz Festival \u003c/a>opening this week, including singer Tiffany Austin, clarinetist Anat Cohen, Natalie and daughter Sandy Cressman and Ravi Coltrane.\u003c/p>\n\u003cp>We also couldn’t fit in the opening of the play \u003ca href=\"https://www.berkeleyrep.org/season/1617/10668.asp\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>An Octoroon\u003c/em> at Berkeley Rep\u003c/a> on Friday, an adaptation and critique of a 19th century play about race. Director Eric Ting is terrific at deconstructing plays like this, and challenging the audience. And don’t forget: with Pride celebrations, public transit is your friend if you’re coming into San Francisco this weekend. Now here’s the show.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9bbVGNY40N8'\n title='//www.youtube.com/embed/9bbVGNY40N8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 23–25\u003c/strong>: With its many stages, after-parties and the big parade, \u003ca href=\"http://www.sfpride.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Pride\u003c/a> is simply too big to sum up in a couple of performers, events and shows, but we’ve tried. \u003ca href=\"http://www.thedykemarch.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Dyke March\u003c/a> is worth catching as it celebrates its 25th anniversary. And we’re both fans of \u003ca href=\"http://www.madamegandhi.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Madame Gandhi\u003c/a> (video above), appearing on the main stage on Sunday, June 25, for her feminist, period-positive message and great dance beats.\u003c/p>\n\u003cp>\u003ca href=\"http://www.margagomez.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Marga Gomez\u003c/a>, the heart of Bay Area Comedy, is one of the emcees on the main stage, and we’re hoping for good things from \u003ca href=\"https://www.facebook.com/HellaGayComedyShow/\" target=\"_blank\" rel=\"noopener noreferrer\">#HellaGayComedy\u003c/a> on Friday, June 23, at Club OMG in San Francisco, with Omar Qureshi, Jesus U.Bettawork, Cassandra Gorgeous, and others. And don’t be surprised if you see people in top hats and claw-like hands at Pride in honor of the Australian horror-flick character \u003ca href=\"http://www.newyorker.com/culture/rabbit-holes/the-babadook-is-a-frightening-fabulous-new-gay-icon\" target=\"_blank\" rel=\"noopener noreferrer\">The Babadook\u003c/a>, a creature who is feared, but also somehow a part of the family. In a recent twist, he’s \u003ca href=\"http://www.newyorker.com/culture/rabbit-holes/the-babadook-is-a-frightening-fabulous-new-gay-icon\" target=\"_blank\" rel=\"noopener noreferrer\">become a gay icon\u003c/a> of sorts. Details for San Francisco Pride \u003ca href=\"http://www.sfpride.org/\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/91HRfJwOuWo'\n title='//www.youtube.com/embed/91HRfJwOuWo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 9\u003c/strong>: Zahra looked ahead on her calendar to find this second-Sunday-of-the-month lesbian, trans, women comedy show at the Ivy Room in Albany. Ash Fisher and Irene Tu of Man Haters headline \u003cem>No Man’s Land\u003c/em> — Tu was one of \u003ca href=\"http://ww2.kqed.org/arts/2016/07/11/women-to-watch-irene-tu/\" target=\"_blank\" rel=\"noopener noreferrer\">KQED’s Women to Watch\u003c/a> last year. Men, like me, are welcome, but as Zahra said, we may be the butt of a lot of jokes (or completely ignored). And it’s a bargain. With women making about 77 cents on the dollar to men, tickets are just $7.70 in advance, $10 at the door.\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/215884295\u003cbr>\n\u003c/aside>\n\u003cp>\u003cstrong>June 24\u003c/strong>: \u003cem>Notes Against the Ban\u003c/em> is a protest of the Trump Administration’s proposed travel ban, in the form of music from the seven Muslim-majority countries on the list: Iraq, Libya, Somalia, Sudan, Syria, Yemen and Iran. The \u003ca href=\"https://ww2.kqed.org/arts/2017/03/13/music-from-seven-muslim-majority-countries-in-notes-against-the-ban/\" target=\"_blank\" rel=\"noopener noreferrer\">Aswat Ensemble \u003c/a>has \u003ca href=\"https://ww2.kqed.org/arts/2017/03/13/music-from-seven-muslim-majority-countries-in-notes-against-the-ban/\" target=\"_blank\" rel=\"noopener noreferrer\">staged this concert as a way to bridge cultural suspicions through music\u003c/a>. Aswat founder Nabila Mango said she wants to “celebrate the beauty of ‘the others.’” Among other highlights, look for Sudanese vocalist Salma Al Assal, profiled in a KQED video (posted above). And for non-Arab & non-Farsi speakers like me, translations of each song will be projected on a screen for the audience. \u003ca href=\"http://www.brownpapertickets.com/event/2933963\" target=\"_blank\" rel=\"noopener noreferrer\">Details for the show at St. Cyprian’s in San Francisco are here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/gbAJp1YarfU'\n title='//www.youtube.com/embed/gbAJp1YarfU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 24 & 25\u003c/strong>: Ubernerd \u003ca href=\"http://nerdist.com/tag/chris-hardwick/\" target=\"_blank\" rel=\"noopener noreferrer\">Chris Hardwick\u003c/a> of Comedy Central and the Nerdist is curating a show, and calling it the\u003cem> ID10T Festival\u003c/em>. On some level, it appears as if Hardwick just said to himself, “What do millennials like? Let’s mash together music, gaming, tech, comic books and comedy.” Not a bad idea, when you’re featuring Demetri Martin, Michael Che, Nikki Glaser, Garfunkel & Oates (the musical-comedy duo comprised of Riki Lindhome and Kate Micucci, two of Zahra’s favorites), Michael Ian Black, plus Sacramento native Brian Posehn. The main stage features music from rather nerdy bands including Weezer and OK Go, and includes Tank and the Bangas out of New Orleans, who won the NPR \u003ca href=\"http://www.npr.org/event/music/519418207/tank-and-the-bangas-tiny-desk-concert\" target=\"_blank\" rel=\"noopener noreferrer\">Tiny Desk Contest \u003c/a>this year. By the way, the title of the show, ID10T, is itself a nerd’s inside joke — it’s a made-up code for user error. In other words, the bug in the program is the person at the keyboard. That must be me. \u003ca href=\"http://id10tfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/_hIl1eYiVc8'\n title='//www.youtube.com/embed/_hIl1eYiVc8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 23–25\u003c/strong>: American symphony orchestras rarely program a whole evening of modern American music. But this weekend the San Francisco Symphony finishes its season with the sort of American Mavericks concert that Michael Tilson Thomas has made his specialty — the program includes Charles Ives, George Antheil (“A Jazz Symphony”), Lou Harrison, and a West Coast premiere from Michael Tilson Thomas himself, plus videos and dance. These multimedia shows can be a real treat.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Thanks to Zahra Noorbaksh for being our co-host this week!\u003c/p>\n\u003cfigure id=\"attachment_12295296\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12295296\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-800x434.jpg\" alt=\"Comedian Zahra Noorbaksh host the podcast #GoodMuslim,BadMuslim’\" width=\"800\" height=\"434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-800x434.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-768x416.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-1020x553.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-1920x1041.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-1180x640.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-960x520.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-520x282.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Comedian Zahra Noorbaksh, co-host of the podcast #GoodMuslim,BadMuslim \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Back in February, David Frum, former speechwriter for President George W. Bush, jokingly likened the first few weeks of the Trump administration to my favorite show about Russian spies:\u003c/p>\n\u003cp>https://twitter.com/davidfrum/status/831355704690798592\u003c/p>\n\u003cp>I laughed, re-tweeted, and then stopped laughing. Wait, I \u003cem>do\u003c/em> sort of feel like an off-screen extra in an episode of \u003cem>The Americans!\u003c/em>\u003c/p>\n\u003cp>It has become uncanny to watch fictional stories in this age of post-truth, alternative facts, and daily melodrama. Nothing feels entirely fictional or entirely real; what used to be a respite of guilty pleasures and genuine entertainment is now an eerie reminder of the specific uncertainties, dangers, and horrors of this particular time.\u003c/p>\n\u003cp>My suspension of belief no longer exists, and even if it did, it doesn't seem smart or responsible to suspend it. Of course, fiction usually seeks to reveal something about our lives and our worlds, but this current intersection between fiction and reality is something different for me.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In Hulu's comment sections under episodes of \u003cem>The Handmaid's Tale\u003c/em>, people debate our current dystopia more than anything related to plot or character. In January, Orwell's \u003ca href=\"https://www.nytimes.com/2017/01/25/books/1984-george-orwell-donald-trump.html?mcubz=2\">\u003cem>1984\u003c/em> \u003c/a>had a 9,500 percent increase in sales, as readers no doubt wanted to brush up on doublethink. Even \u003cem>The Bachelorette\u003c/em>, which is usually quite willfully anachronistic, has the first black Bachelorette being courted by a man \u003ca href=\"http://people.com/tv/bachelorette-lee-garrett-alleged-offensive-tweets/\">who allegedly believes Black Lives Matter is a terrorist group and liberal woman aren't to be trusted\u003c/a>.\u003c/p>\n\u003cp>While I haven't re-read \u003cem>1984\u003c/em>, I have found myself drawn to watching \u003cem>Scandal\u003c/em> again, a particularly soapy show that I'd given up on years ago when it went off the rails. I was curious to see how the narrative would unfold, considering our reality seems more nail-biting and suspenseful than anything we could make up. I was not surprised that the gory, amoral roller coaster suddenly had the sickening gravitas of one of those true crime TV documentaries. None of the behind-the-scenes machinations felt that far-fetched. In fact, the murder, mayhem, and subterfuge is all quite symbolically rich, as if there is something meaningful to be gleaned from Elizabeth getting bashed with a baseball bat or the Electoral College being blackmailed. \u003cem>Scandal\u003c/em> has become an artsy exposé!\u003c/p>\n\u003cp>After speaking with writers from \u003cem>Scandal\u003c/em>, \u003cem>House of Cards\u003c/em>, \u003cem>Veep\u003c/em>, and \u003cem>Madam Secretary, The New York Times'\u003c/em> Jim Rutenberg discovered the new reality of what it's like to \u003ca href=\"https://www.nytimes.com/2017/04/12/arts/television/political-tv-in-age-of-trump-shonda-rhimes-scandal-veep-madame-secretary-house-of-cards-hbo.html?mcubz=2&_r=0\">write TV in the age of Trump\u003c/a>: \"Suddenly, the writers who work on political television shows were competing less with one another and more with real life, because of a president who transformed their seemingly escapist scripts into something resembling nonfiction — and scrambled the traditional notions of political cause and effect that they tended to base their drama upon.\"\u003c/p>\n\u003cp>That's at the heart of it for me, as a fiction writer and someone who loves stories: what role does fiction play when the truth is stranger than fiction, and when it's ever more essential that we value and uncover the truth?\u003c/p>\n\u003cp>Perhaps fiction, even the lighthearted television variety, has a responsibility to keep us alert to our reality rather than inspire us to escape it. Not everyone and everything has to be political all the time, and yet I have to admit that, lately, when I watch a show that doesn't at least \u003cem>somehow\u003c/em> engage with our current political and cultural climate, I find myself asking, \u003cem>What is the point of this? \u003c/em>Even comedy sitcoms like \u003cem>\u003ca href=\"https://www.theatlantic.com/entertainment/archive/2017/01/black-ishs-lemons-is-art-for-the-age-of-trump/512978/\">Black-ish \u003c/a>\u003c/em>and \u003cem>Kimmy Schmidt\u003c/em> find a way to get some commentary in.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/titus-america-fix.gif\">\u003cimg class=\"size-full wp-image-86030 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/titus-america-fix.gif\" alt=\"\" width=\"480\" height=\"270\">\u003c/a>\u003c/p>\n\u003cp>\u003cem>The Handmaid's Tale\u003c/em> has been discussed extensively (and very beautifully in \u003ca href=\"http://lithub.com/the-handmaids-tale-adapts-more-than-the-novel-here-is-america/\">Emily Temple's piece for Lit Hub\u003c/a>). I've had a lot of mixed emotions and assessments while watching, but the most unfamiliar sensation has been a too-real sense of doom, fear, and portent. Most things I watch, even disturbing things, don't stick with me for too long afterwards. I take them in, think about them, and let them go pretty easily. But \u003cem>The Handmaid's Tale\u003c/em> leaves this strange and unprecedented after-image that frightens me and inspires me to (among other things) stay updated on \u003ca href=\"https://medium.com/@Amy_Siskind\">Amy's Siskind's list of things that are subtly changing around us\u003c/a>. It's no surprise that women have been \u003ca href=\"https://ww2.kqed.org/pop/2017/05/12/the-frightening-realism-of-the-handmaids-tale-is-inspiring-costumed-protests-and-a-lot-of-freaking-out/\">showing up to protests in red cloaks and white bonnets\u003c/a>. It's really quite something to see images from the Texas State Capitol (\u003ca href=\"http://www.huffingtonpost.com/entry/women-wore-handmaids-tale-robes-to-ohio-statehouse-to-protest-anti-abortion-law_us_5940080ee4b02402687d0047?ncid=engmodushpmg00000004\">and just the other day in Ohio\u003c/a>) that evoke scenes from a book I read in 12th grade English class.\u003c/p>\n\u003cp>https://twitter.com/HuffPostWomen/status/874676690617851904\u003c/p>\n\u003cp>\"Yes: your life, right now, is both text and context for this television show,\" Temple writes. Later, she continues, \"...what it really does is remind us of the true precariousness of our own situation in America. We rely so much on the perceived rules of our society, but in fact we have almost no control. We assume that the rules will protect us, but those rules aren’t actually real.\"\u003c/p>\n\u003cp>What this all points to on a very macro and existential level is that what is \"real\" is so often not. We construct notions of something being lasting, fixed, and solid, and we use this illusion to comfort ourselves into a false sense of security and inaction. Sometimes, it is the illusion of fiction's unlikeliness, sometimes the illusion of a boundary or an impossibility. More and more, I get the impression our fictional stories are trying to point out the danger of the illusions, rather than weave them for our entertainment.\u003c/p>\n\u003cp>I'm reminded of the second part of Mark Twain's famous quote. \"Truth is stranger than fiction, but it is because Fiction is obliged to stick to possibilities; Truth isn't.\" We have no idea what plot twist is coming next; the truth does not have to stick to what is possible.\u003c/p>\n\u003cp>Of course, this is just TV and pop culture that I'm considering here. \u003ca href=\"https://www.pastemagazine.com/articles/2017/03/20-radical-films-to-watch-in-the-age-of-trump.html\">Films\u003c/a>, \u003ca href=\"http://www.billboard.com/articles/columns/rock/7678148/what-protest-music-are-people-buying-at-record-shops-trump\">music\u003c/a>, \u003ca href=\"http://www.salon.com/2017/02/17/its-gallows-humor-canadian-actors-on-writing-comedy-in-the-trump-era/\">comedy\u003c/a>, \u003ca href=\"https://pen.org/press-clip/hope-alive-age-trump-poets-writers-creating-new-vision/\">literature\u003c/a>, and \u003ca href=\"https://hyperallergic.com/352519/13-artists-design-flags-for-the-age-of-trump-with-plans-to-burn-them-later/\">visual art\u003c/a> are ever more vital (Google \"any art form\" in the age of Trump, and you get incredible results). As Charles McNulty writes \u003ca href=\"http://www.latimes.com/entertainment/arts/la-ca-cm-mcnulty-notebook-20170324-story.html\">in the \u003cem>LA Times\u003c/em>\u003c/a>, \"The arts and the humanities nixed by Trump’s budget proposal pose a direct challenge to demagoguery. Literature, theater, music and the visual arts promote contemplation. They invite individuals to ask questions, consider alternative views and second-guess what they’ve been brainwashed into believing.\"\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Let's keep paying very close attention to all the stories we're being told, and to what we believe is true.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Back in February, David Frum, former speechwriter for President George W. Bush, jokingly likened the first few weeks of the Trump administration to my favorite show about Russian spies:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>I laughed, re-tweeted, and then stopped laughing. Wait, I \u003cem>do\u003c/em> sort of feel like an off-screen extra in an episode of \u003cem>The Americans!\u003c/em>\u003c/p>\n\u003cp>It has become uncanny to watch fictional stories in this age of post-truth, alternative facts, and daily melodrama. Nothing feels entirely fictional or entirely real; what used to be a respite of guilty pleasures and genuine entertainment is now an eerie reminder of the specific uncertainties, dangers, and horrors of this particular time.\u003c/p>\n\u003cp>My suspension of belief no longer exists, and even if it did, it doesn't seem smart or responsible to suspend it. Of course, fiction usually seeks to reveal something about our lives and our worlds, but this current intersection between fiction and reality is something different for me.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In Hulu's comment sections under episodes of \u003cem>The Handmaid's Tale\u003c/em>, people debate our current dystopia more than anything related to plot or character. In January, Orwell's \u003ca href=\"https://www.nytimes.com/2017/01/25/books/1984-george-orwell-donald-trump.html?mcubz=2\">\u003cem>1984\u003c/em> \u003c/a>had a 9,500 percent increase in sales, as readers no doubt wanted to brush up on doublethink. Even \u003cem>The Bachelorette\u003c/em>, which is usually quite willfully anachronistic, has the first black Bachelorette being courted by a man \u003ca href=\"http://people.com/tv/bachelorette-lee-garrett-alleged-offensive-tweets/\">who allegedly believes Black Lives Matter is a terrorist group and liberal woman aren't to be trusted\u003c/a>.\u003c/p>\n\u003cp>While I haven't re-read \u003cem>1984\u003c/em>, I have found myself drawn to watching \u003cem>Scandal\u003c/em> again, a particularly soapy show that I'd given up on years ago when it went off the rails. I was curious to see how the narrative would unfold, considering our reality seems more nail-biting and suspenseful than anything we could make up. I was not surprised that the gory, amoral roller coaster suddenly had the sickening gravitas of one of those true crime TV documentaries. None of the behind-the-scenes machinations felt that far-fetched. In fact, the murder, mayhem, and subterfuge is all quite symbolically rich, as if there is something meaningful to be gleaned from Elizabeth getting bashed with a baseball bat or the Electoral College being blackmailed. \u003cem>Scandal\u003c/em> has become an artsy exposé!\u003c/p>\n\u003cp>After speaking with writers from \u003cem>Scandal\u003c/em>, \u003cem>House of Cards\u003c/em>, \u003cem>Veep\u003c/em>, and \u003cem>Madam Secretary, The New York Times'\u003c/em> Jim Rutenberg discovered the new reality of what it's like to \u003ca href=\"https://www.nytimes.com/2017/04/12/arts/television/political-tv-in-age-of-trump-shonda-rhimes-scandal-veep-madame-secretary-house-of-cards-hbo.html?mcubz=2&_r=0\">write TV in the age of Trump\u003c/a>: \"Suddenly, the writers who work on political television shows were competing less with one another and more with real life, because of a president who transformed their seemingly escapist scripts into something resembling nonfiction — and scrambled the traditional notions of political cause and effect that they tended to base their drama upon.\"\u003c/p>\n\u003cp>That's at the heart of it for me, as a fiction writer and someone who loves stories: what role does fiction play when the truth is stranger than fiction, and when it's ever more essential that we value and uncover the truth?\u003c/p>\n\u003cp>Perhaps fiction, even the lighthearted television variety, has a responsibility to keep us alert to our reality rather than inspire us to escape it. Not everyone and everything has to be political all the time, and yet I have to admit that, lately, when I watch a show that doesn't at least \u003cem>somehow\u003c/em> engage with our current political and cultural climate, I find myself asking, \u003cem>What is the point of this? \u003c/em>Even comedy sitcoms like \u003cem>\u003ca href=\"https://www.theatlantic.com/entertainment/archive/2017/01/black-ishs-lemons-is-art-for-the-age-of-trump/512978/\">Black-ish \u003c/a>\u003c/em>and \u003cem>Kimmy Schmidt\u003c/em> find a way to get some commentary in.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/titus-america-fix.gif\">\u003cimg class=\"size-full wp-image-86030 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/titus-america-fix.gif\" alt=\"\" width=\"480\" height=\"270\">\u003c/a>\u003c/p>\n\u003cp>\u003cem>The Handmaid's Tale\u003c/em> has been discussed extensively (and very beautifully in \u003ca href=\"http://lithub.com/the-handmaids-tale-adapts-more-than-the-novel-here-is-america/\">Emily Temple's piece for Lit Hub\u003c/a>). I've had a lot of mixed emotions and assessments while watching, but the most unfamiliar sensation has been a too-real sense of doom, fear, and portent. Most things I watch, even disturbing things, don't stick with me for too long afterwards. I take them in, think about them, and let them go pretty easily. But \u003cem>The Handmaid's Tale\u003c/em> leaves this strange and unprecedented after-image that frightens me and inspires me to (among other things) stay updated on \u003ca href=\"https://medium.com/@Amy_Siskind\">Amy's Siskind's list of things that are subtly changing around us\u003c/a>. It's no surprise that women have been \u003ca href=\"https://ww2.kqed.org/pop/2017/05/12/the-frightening-realism-of-the-handmaids-tale-is-inspiring-costumed-protests-and-a-lot-of-freaking-out/\">showing up to protests in red cloaks and white bonnets\u003c/a>. It's really quite something to see images from the Texas State Capitol (\u003ca href=\"http://www.huffingtonpost.com/entry/women-wore-handmaids-tale-robes-to-ohio-statehouse-to-protest-anti-abortion-law_us_5940080ee4b02402687d0047?ncid=engmodushpmg00000004\">and just the other day in Ohio\u003c/a>) that evoke scenes from a book I read in 12th grade English class.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\"Yes: your life, right now, is both text and context for this television show,\" Temple writes. Later, she continues, \"...what it really does is remind us of the true precariousness of our own situation in America. We rely so much on the perceived rules of our society, but in fact we have almost no control. We assume that the rules will protect us, but those rules aren’t actually real.\"\u003c/p>\n\u003cp>What this all points to on a very macro and existential level is that what is \"real\" is so often not. We construct notions of something being lasting, fixed, and solid, and we use this illusion to comfort ourselves into a false sense of security and inaction. Sometimes, it is the illusion of fiction's unlikeliness, sometimes the illusion of a boundary or an impossibility. More and more, I get the impression our fictional stories are trying to point out the danger of the illusions, rather than weave them for our entertainment.\u003c/p>\n\u003cp>I'm reminded of the second part of Mark Twain's famous quote. \"Truth is stranger than fiction, but it is because Fiction is obliged to stick to possibilities; Truth isn't.\" We have no idea what plot twist is coming next; the truth does not have to stick to what is possible.\u003c/p>\n\u003cp>Of course, this is just TV and pop culture that I'm considering here. \u003ca href=\"https://www.pastemagazine.com/articles/2017/03/20-radical-films-to-watch-in-the-age-of-trump.html\">Films\u003c/a>, \u003ca href=\"http://www.billboard.com/articles/columns/rock/7678148/what-protest-music-are-people-buying-at-record-shops-trump\">music\u003c/a>, \u003ca href=\"http://www.salon.com/2017/02/17/its-gallows-humor-canadian-actors-on-writing-comedy-in-the-trump-era/\">comedy\u003c/a>, \u003ca href=\"https://pen.org/press-clip/hope-alive-age-trump-poets-writers-creating-new-vision/\">literature\u003c/a>, and \u003ca href=\"https://hyperallergic.com/352519/13-artists-design-flags-for-the-age-of-trump-with-plans-to-burn-them-later/\">visual art\u003c/a> are ever more vital (Google \"any art form\" in the age of Trump, and you get incredible results). As Charles McNulty writes \u003ca href=\"http://www.latimes.com/entertainment/arts/la-ca-cm-mcnulty-notebook-20170324-story.html\">in the \u003cem>LA Times\u003c/em>\u003c/a>, \"The arts and the humanities nixed by Trump’s budget proposal pose a direct challenge to demagoguery. Literature, theater, music and the visual arts promote contemplation. They invite individuals to ask questions, consider alternative views and second-guess what they’ve been brainwashed into believing.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Let's keep paying very close attention to all the stories we're being told, and to what we believe is true.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Hollywood movies \u003cem>love\u003c/em> technology. Because so many of us hate it.\u003c/p>\n\u003cp>Technology represents the new, the unknown, which makes it the chewiest of film fodder. For years now, genre movies have eagerly played into our collective unease with the tech that surrounds us.\u003c/p>\n\u003cp>In spy movies like the \u003cem>Bourne\u003c/em> series, the specter of 24-hour digital surveillance evokes our feelings of paranoia and dread.\u003c/p>\n\u003cp>In popcorn science-fiction films like the \u003cem>Terminator\u003c/em> series and the art-house sci-fi of \u003cem>Ex Machina\u003c/em> and, seminally, \u003cem>2001: A Space Odyssey\u003c/em>, computers are forever achieving sentience and threatening humanity's very existence.\u003c/p>\n\u003cp>And as for horror movies? Well.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They're ... not particularly subtle about it.\u003c/p>\n\u003cp>\u003cem>The Ring\u003c/em> (2002) and its 2016 sequel, \u003cem>Rings\u003c/em>? A video that kills you.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uukQ_6szDm8\u003c/p>\n\u003cp>\u003cem>One Missed Call\u003c/em> (2008)? Cellphones that kill you.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZKouK8W417A\u003c/p>\n\u003cp>\u003cem>Unfriended\u003c/em> (2014)? Skype that kills you.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Lgj4GjqCFlY\u003c/p>\n\u003cp>\u003cem>Jeruzalem\u003c/em> (2015) Google Glass that kills you.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VlilRJBDxek\u003c/p>\n\u003cp>The Paranormal Activity franchise? Digital cameras that capture you being mysteriously — but most emphatically — killed.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=twoWuDy5kys\u003c/p>\n\u003cp>But there's one movie genre that's still struggling to incorporate the everyday tech of contemporary life into the stories it tells: the romantic comedy.\u003c/p>\n\u003cp>Which is notable — and very, very odd — because online dating (whether through sites like Match.com or smartphone apps like Tinder) is, for millions of people, a simple fact of life — the New Normal. A 2013 \u003ca href=\"https://news.uchicago.edu/article/2013/06/03/meeting-online-leads-happier-more-enduring-marriages\">University of Chicago study\u003c/a>, for example, found that more than one-third of marriages now begin online, and that number is only expected to increase.\u003c/p>\n\u003cp>So why is Hollywood churning out so many movies where technology leads to painful, terrifying death, but is reluctant to make movies where that same tech leads to love?\u003c/p>\n\u003cp>\u003cstrong>Not enough rom-coms?\u003c/strong>\u003c/p>\n\u003cp>Maybe it's simply a numbers game: we're not living in a time when Hollywood's producing a lot of romantic comedies (this summer's excellent \u003cem>The Big Sick\u003c/em> notwithstanding), so there's fewer opportunities for them to grapple with online dating.\u003c/p>\n\u003cp>\u003cstrong>Lack of tension?\u003c/strong>\u003c/p>\n\u003cp>But maybe it's something about the nature of the genre. Sarah Wendell, who runs the website \u003ca href=\"http://smartbitchestrashybooks.com/\">Smart Bitches, Trashy Books\u003c/a>, which critiques and celebrates romance novels, knows a little something about rom-com story structure.\u003c/p>\n\u003cp>\"When you have a romantic comedy,\" she says, \"part of the story's central tension is whatever's preventing your characters from getting a happy ending. Something's in their way. But when you have them use technology to actively seek out another person, you lower that tension — which is where the comedy comes from.\"\u003c/p>\n\u003cp>\u003cstrong>Boring visuals?\u003c/strong>\u003c/p>\n\u003cp>Christine Vachon, whose company, Killer Films, produced movies like \u003cem>Carol\u003c/em> and \u003cem>Still Alice\u003c/em>, thinks it comes down to the onscreen visuals. Or rather, the \u003cem>lack\u003c/em> of them.\u003c/p>\n\u003cp>\"Watching two people meet in a visually clever way is a lot more interesting than people swiping right or left,\" she says.\u003c/p>\n\u003cp>But she's quick to add that this may change.\u003c/p>\n\u003cp>\"I think you can [make movies about online dating], I just don't think we have yet,\" she says. \"I think you can make \u003cem>anything\u003c/em> cinematically compelling. I just think that there's some sort of visual language that we haven't quite cracked yet.\"\u003c/p>\n\u003cp>\u003cstrong>Out-of-touch gatekeepers?\u003c/strong>\u003c/p>\n\u003cp>But even if some future screenwriter figures out how to crack that language, that's only the first step. Comedian Guy Branum, who's pitched a screenplay or two in his time, says they'd still have to get the script past studio executives, which won't be easy.\u003c/p>\n\u003cp>\"People who are greenlighting rom-coms are still men in their 50s,\" he says, \"who have not integrated social media or dating apps in their lives — they never had to, because they didn't exist. They all got married in 1986 and were rich enough that they didn't need help to find a second wife in 1999.\"\u003c/p>\n\u003cp>Branum writes for Hulu's \u003cem>The Mindy Project\u003c/em>, which — like a lot of TV shows — features characters texting and clicking and swiping all the time. But he's not surprised that film studios are still reluctant to show people using tech in realistic ways.\u003c/p>\n\u003cp>\"A big problem is that we no longer make movies that reflect reality,\" he says. \"The movies we are good at making are talking cars that transforms into robots or something smashing into the Earth or people going into space. We have to some extent forgotten how to make movies about people.\"\u003c/p>\n\u003cp>For her part, producer Christine Vachon is a \u003cem>bit\u003c/em> more hopeful. She just thinks Hollywood needs some time.\u003c/p>\n\u003cp>\"The movie business is always afraid of what it doesn't completely understand,\" she says. \"But our cinematic language always shifts and adjusts to the times that we're in.\"\u003c/p>\n\u003cp>\u003cstrong>In the meantime ...\u003c/strong>\u003c/p>\n\u003cp>That shift she talks about may have already started, but to see it you have to look beyond the rom-com. Weirdly enough, it's science fiction that's exploring the space where romance and technology come together — in films like 2014's \u003cem>Ex Machina\u003c/em> and — especially — 2013's \u003cem>Her\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=n1AjtIAje3o\u003c/p>\n\u003cp>In that film, Joaquin Phoenix plays a lonely guy who installs an artificial intelligence — voiced by Scarlett Johansson— onto his computer.\u003c/p>\n\u003cp>And then falls in love with it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It's not Match.com, but for several different reasons, it's probably as close as Hollywood's going to get... for now.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Why+Hasn%27t+Online+Dating+Made+It+Onscreen%3F+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hollywood movies \u003cem>love\u003c/em> technology. Because so many of us hate it.\u003c/p>\n\u003cp>Technology represents the new, the unknown, which makes it the chewiest of film fodder. For years now, genre movies have eagerly played into our collective unease with the tech that surrounds us.\u003c/p>\n\u003cp>In spy movies like the \u003cem>Bourne\u003c/em> series, the specter of 24-hour digital surveillance evokes our feelings of paranoia and dread.\u003c/p>\n\u003cp>In popcorn science-fiction films like the \u003cem>Terminator\u003c/em> series and the art-house sci-fi of \u003cem>Ex Machina\u003c/em> and, seminally, \u003cem>2001: A Space Odyssey\u003c/em>, computers are forever achieving sentience and threatening humanity's very existence.\u003c/p>\n\u003cp>And as for horror movies? Well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They're ... not particularly subtle about it.\u003c/p>\n\u003cp>\u003cem>The Ring\u003c/em> (2002) and its 2016 sequel, \u003cem>Rings\u003c/em>? A video that kills you.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/uukQ_6szDm8'\n title='//www.youtube.com/embed/uukQ_6szDm8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>One Missed Call\u003c/em> (2008)? Cellphones that kill you.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ZKouK8W417A'\n title='//www.youtube.com/embed/ZKouK8W417A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Unfriended\u003c/em> (2014)? Skype that kills you.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Lgj4GjqCFlY'\n title='//www.youtube.com/embed/Lgj4GjqCFlY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Jeruzalem\u003c/em> (2015) Google Glass that kills you.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/VlilRJBDxek'\n title='//www.youtube.com/embed/VlilRJBDxek'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Paranormal Activity franchise? Digital cameras that capture you being mysteriously — but most emphatically — killed.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/twoWuDy5kys'\n title='//www.youtube.com/embed/twoWuDy5kys'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But there's one movie genre that's still struggling to incorporate the everyday tech of contemporary life into the stories it tells: the romantic comedy.\u003c/p>\n\u003cp>Which is notable — and very, very odd — because online dating (whether through sites like Match.com or smartphone apps like Tinder) is, for millions of people, a simple fact of life — the New Normal. A 2013 \u003ca href=\"https://news.uchicago.edu/article/2013/06/03/meeting-online-leads-happier-more-enduring-marriages\">University of Chicago study\u003c/a>, for example, found that more than one-third of marriages now begin online, and that number is only expected to increase.\u003c/p>\n\u003cp>So why is Hollywood churning out so many movies where technology leads to painful, terrifying death, but is reluctant to make movies where that same tech leads to love?\u003c/p>\n\u003cp>\u003cstrong>Not enough rom-coms?\u003c/strong>\u003c/p>\n\u003cp>Maybe it's simply a numbers game: we're not living in a time when Hollywood's producing a lot of romantic comedies (this summer's excellent \u003cem>The Big Sick\u003c/em> notwithstanding), so there's fewer opportunities for them to grapple with online dating.\u003c/p>\n\u003cp>\u003cstrong>Lack of tension?\u003c/strong>\u003c/p>\n\u003cp>But maybe it's something about the nature of the genre. Sarah Wendell, who runs the website \u003ca href=\"http://smartbitchestrashybooks.com/\">Smart Bitches, Trashy Books\u003c/a>, which critiques and celebrates romance novels, knows a little something about rom-com story structure.\u003c/p>\n\u003cp>\"When you have a romantic comedy,\" she says, \"part of the story's central tension is whatever's preventing your characters from getting a happy ending. Something's in their way. But when you have them use technology to actively seek out another person, you lower that tension — which is where the comedy comes from.\"\u003c/p>\n\u003cp>\u003cstrong>Boring visuals?\u003c/strong>\u003c/p>\n\u003cp>Christine Vachon, whose company, Killer Films, produced movies like \u003cem>Carol\u003c/em> and \u003cem>Still Alice\u003c/em>, thinks it comes down to the onscreen visuals. Or rather, the \u003cem>lack\u003c/em> of them.\u003c/p>\n\u003cp>\"Watching two people meet in a visually clever way is a lot more interesting than people swiping right or left,\" she says.\u003c/p>\n\u003cp>But she's quick to add that this may change.\u003c/p>\n\u003cp>\"I think you can [make movies about online dating], I just don't think we have yet,\" she says. \"I think you can make \u003cem>anything\u003c/em> cinematically compelling. I just think that there's some sort of visual language that we haven't quite cracked yet.\"\u003c/p>\n\u003cp>\u003cstrong>Out-of-touch gatekeepers?\u003c/strong>\u003c/p>\n\u003cp>But even if some future screenwriter figures out how to crack that language, that's only the first step. Comedian Guy Branum, who's pitched a screenplay or two in his time, says they'd still have to get the script past studio executives, which won't be easy.\u003c/p>\n\u003cp>\"People who are greenlighting rom-coms are still men in their 50s,\" he says, \"who have not integrated social media or dating apps in their lives — they never had to, because they didn't exist. They all got married in 1986 and were rich enough that they didn't need help to find a second wife in 1999.\"\u003c/p>\n\u003cp>Branum writes for Hulu's \u003cem>The Mindy Project\u003c/em>, which — like a lot of TV shows — features characters texting and clicking and swiping all the time. But he's not surprised that film studios are still reluctant to show people using tech in realistic ways.\u003c/p>\n\u003cp>\"A big problem is that we no longer make movies that reflect reality,\" he says. \"The movies we are good at making are talking cars that transforms into robots or something smashing into the Earth or people going into space. We have to some extent forgotten how to make movies about people.\"\u003c/p>\n\u003cp>For her part, producer Christine Vachon is a \u003cem>bit\u003c/em> more hopeful. She just thinks Hollywood needs some time.\u003c/p>\n\u003cp>\"The movie business is always afraid of what it doesn't completely understand,\" she says. \"But our cinematic language always shifts and adjusts to the times that we're in.\"\u003c/p>\n\u003cp>\u003cstrong>In the meantime ...\u003c/strong>\u003c/p>\n\u003cp>That shift she talks about may have already started, but to see it you have to look beyond the rom-com. Weirdly enough, it's science fiction that's exploring the space where romance and technology come together — in films like 2014's \u003cem>Ex Machina\u003c/em> and — especially — 2013's \u003cem>Her\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/n1AjtIAje3o'\n title='//www.youtube.com/embed/n1AjtIAje3o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In that film, Joaquin Phoenix plays a lonely guy who installs an artificial intelligence — voiced by Scarlett Johansson— onto his computer.\u003c/p>\n\u003cp>And then falls in love with it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It's not Match.com, but for several different reasons, it's probably as close as Hollywood's going to get... for now.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Why+Hasn%27t+Online+Dating+Made+It+Onscreen%3F+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Does Rough Night's Box Office Flop Indicate a Cultural Shift in How We See Sex Workers?",
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"content": "\u003cp>Maybe Father's Day weekend wasn't the best time to release a movie driven by, and so obviously designed for, women, but much-hyped comedy \u003ca href=\"http://www.imdb.com/title/tt4799050/?ref_=nv_sr_1\">\u003cem>Rough Night\u003c/em>\u003c/a> had a rough showing at the box office during its opening weekend. The Scarlett Johansson, Kate McKinnon, Ilana Glazer, Zoë Kravitz, and Jillian Bell party romp brought in just $8 million -- about half what was expected. Given that \u003cem>Wonder Woman\u003c/em> simultaneously brought in $40.8 million (even though it had already been out for three weeks), the female leads are clearly not the reason for the disappointing attendance.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gnp8BvB8z4Q\u003c/p>\n\u003cp>It's impossible not to wonder if the reason audiences stayed away in droves is the problematic nature of \u003cem>Rough Night\u003c/em>'s plot. A comedy revolving around the death of a sex worker is a hard sell in general, but when the target audience is female, and sex work is overwhelmingly a female profession, it becomes harder for audiences to approach flippantly. Before the film even came out, the public was expressing horror about the plot on social media.\u003c/p>\n\u003cp>https://twitter.com/NaturallyTiss/status/839872422207717376?ref_src=twsrc%5Etfw&ref_url=http%3A%2F%2Fwww.refinery29.com%2F2017%2F03%2F144516%2Frough-night-trailer-sex-worker-rights-issue\u003c/p>\n\u003cp>Bloggers in some corners of the internet weren't particularly thrilled either. \u003ca href=\"https://www.themarysue.com/not-cool-rough-night-trailer/\">TheMarySue\u003c/a> declared \"killing a stripper isn’t hilarious, regardless of whatever gender they may be.\" \u003ca href=\"http://www.refinery29.com/2017/03/144516/rough-night-trailer-sex-worker-rights-issue\">Refinery29\u003c/a> put the movie concept in an even starker context: \"A long-term mortality study on sex workers found that active sex workers have a mortality rate of 459 per 100,000 people — to put that into perspective, the general public mortality rate is around 1.9 per every 100,000 people.\" \u003ca href=\"http://www.mtv.com/news/2993813/lady-problems-the-rough-night-trailer-controversy-zzzzzzzzzzzz/\">MTV\u003c/a> tried to suggest that audiences shouldn't be taking this movie so seriously -- \"This is, at worst, an Adam Sandler movie, except with interesting women and actually good jokes and no casual racism or misogyny,\" -- but in the internet court of opinion, \u003cem>Rough Night\u003c/em> had already taken a hit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Intersectional feminism has been working very hard the last few years to alter how \u003ca href=\"http://everydayfeminism.com/2014/11/myths-people-sex-industry/\">sex workers\u003c/a> are viewed by those who don't work in the industry. It has been remarkably effective in humanizing one of the most historically judged and marginalized groups in the world. Social media has also assisted those working in the sex industry in offering a realistic day-to-day view of what the work actually entails (\u003ca href=\"http://www.jacqthestripper.com/\">Jacq the Stripper\u003c/a> has been particularly effective at this). These developments have undoubtedly shifted the perception of the general public, especially with younger demographics. In this super-woke cultural environment, changing the usual gender of the dead sex worker just might not be enough to get a lot of women on board.\u003c/p>\n\u003cp>Had \u003cem>Rough Night\u003c/em> come out 19 years ago, on the heels of 1998's truly hard-to-watch \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0124198/?ref_=nv_sr_1\">Very Bad Things\u003c/a> (\u003c/em>in which a prostitute is accidentally killed at a bachelor party), it might have made a modicum of sense as an antidote to, and revenge for, that unbearably masculine movie. Of course, it's highly unlikely that \u003cem>Rough Night\u003c/em> could have even gotten a green light back then, but waiting two decades to flip this particular death-of-a-sex-worker script makes the joke too old for much of its millennial target audience to even get get the reference. (\u003cem>Very Bad Things\u003c/em> is certainly very far down the list of 1990s Cameron Diaz vehicles we look back on fondly.)\u003c/p>\n\u003cp>It is possible too that, even without the reach and influence of intersectional feminism, we are simply tired, as a culture, of watching sex workers only represented as caricatures (\u003ca href=\"http://www.imdb.com/title/tt0083642/?ref_=fn_al_tt_1\">\u003cem>The\u003c/em> \u003cem>Best Little Whorehouse in Texas\u003c/em>\u003c/a>), by stereotypes -- being either hardened, drug-dependent or dead -- or by tropes, the most common being the hooker with a heart of gold. See: \u003ca href=\"http://www.imdb.com/title/tt0100405/?ref_=fn_al_tt_1\">\u003cem>Pretty Woman\u003c/em>\u003c/a>, \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0086465/?ref_=nv_sr_1\">Trading Places\u003c/a>, \u003ca href=\"http://www.imdb.com/title/tt0086200/?ref_=nv_sr_1\">Risky Business\u003c/a>, \u003ca href=\"http://www.imdb.com/title/tt0113627/?ref_=nv_sr_1\">Leaving Las Vegas\u003c/a>,\u003c/em> \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0108399/?ref_=fn_al_tt_1\">True Romance\u003c/a> -- \u003c/em>a film that features a call girl who specifies that she's only ever had two clients, as a means for audiences to like her more -- and \u003ca href=\"http://www.vh1.com/news/86110/25-hookers-with-hearts-of-gold/\">too many others\u003c/a> to mention. For too long now, a tragic undercurrent has followed almost all on-screen representations of sex workers too.\u003c/p>\n\u003cp>Recent years have seen a moderate shift, as indicated by 2012's joyful, and extremely popular \u003cem>\u003ca href=\"http://www.imdb.com/title/tt1915581/?ref_=nv_sr_1\">Magic Mike\u003c/a>, \u003c/em>(though even that movie ended with Channing Tatum's titular character leaving behind the world of stripping) and \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=cMZhDdNfrE0\">For a Good Time, Call..., \u003c/a>\u003c/em>which went out of its way to represent sex workers as Just Like You And Me. More recently, Hulu's \u003cem>Harlots\u003c/em> series has been praised across the board as both feminist and sex worker-positive:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JmUP1idcOhU\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the end, \u003cem>Rough Night\u003c/em>'s disappointing weekend might push media and movies forward, and allow those who work in the sex industry a place in popular culture that doesn't involve either dehumanization or the need to be saved. After decades of reductive stereotyping, it is most definitely time for a change. \u003cem>Rough Night\u003c/em> just found that out the hard way.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Maybe Father's Day weekend wasn't the best time to release a movie driven by, and so obviously designed for, women, but much-hyped comedy \u003ca href=\"http://www.imdb.com/title/tt4799050/?ref_=nv_sr_1\">\u003cem>Rough Night\u003c/em>\u003c/a> had a rough showing at the box office during its opening weekend. The Scarlett Johansson, Kate McKinnon, Ilana Glazer, Zoë Kravitz, and Jillian Bell party romp brought in just $8 million -- about half what was expected. Given that \u003cem>Wonder Woman\u003c/em> simultaneously brought in $40.8 million (even though it had already been out for three weeks), the female leads are clearly not the reason for the disappointing attendance.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/gnp8BvB8z4Q'\n title='//www.youtube.com/embed/gnp8BvB8z4Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It's impossible not to wonder if the reason audiences stayed away in droves is the problematic nature of \u003cem>Rough Night\u003c/em>'s plot. A comedy revolving around the death of a sex worker is a hard sell in general, but when the target audience is female, and sex work is overwhelmingly a female profession, it becomes harder for audiences to approach flippantly. Before the film even came out, the public was expressing horror about the plot on social media.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Intersectional feminism has been working very hard the last few years to alter how \u003ca href=\"http://everydayfeminism.com/2014/11/myths-people-sex-industry/\">sex workers\u003c/a> are viewed by those who don't work in the industry. It has been remarkably effective in humanizing one of the most historically judged and marginalized groups in the world. Social media has also assisted those working in the sex industry in offering a realistic day-to-day view of what the work actually entails (\u003ca href=\"http://www.jacqthestripper.com/\">Jacq the Stripper\u003c/a> has been particularly effective at this). These developments have undoubtedly shifted the perception of the general public, especially with younger demographics. In this super-woke cultural environment, changing the usual gender of the dead sex worker just might not be enough to get a lot of women on board.\u003c/p>\n\u003cp>Had \u003cem>Rough Night\u003c/em> come out 19 years ago, on the heels of 1998's truly hard-to-watch \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0124198/?ref_=nv_sr_1\">Very Bad Things\u003c/a> (\u003c/em>in which a prostitute is accidentally killed at a bachelor party), it might have made a modicum of sense as an antidote to, and revenge for, that unbearably masculine movie. Of course, it's highly unlikely that \u003cem>Rough Night\u003c/em> could have even gotten a green light back then, but waiting two decades to flip this particular death-of-a-sex-worker script makes the joke too old for much of its millennial target audience to even get get the reference. (\u003cem>Very Bad Things\u003c/em> is certainly very far down the list of 1990s Cameron Diaz vehicles we look back on fondly.)\u003c/p>\n\u003cp>It is possible too that, even without the reach and influence of intersectional feminism, we are simply tired, as a culture, of watching sex workers only represented as caricatures (\u003ca href=\"http://www.imdb.com/title/tt0083642/?ref_=fn_al_tt_1\">\u003cem>The\u003c/em> \u003cem>Best Little Whorehouse in Texas\u003c/em>\u003c/a>), by stereotypes -- being either hardened, drug-dependent or dead -- or by tropes, the most common being the hooker with a heart of gold. See: \u003ca href=\"http://www.imdb.com/title/tt0100405/?ref_=fn_al_tt_1\">\u003cem>Pretty Woman\u003c/em>\u003c/a>, \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0086465/?ref_=nv_sr_1\">Trading Places\u003c/a>, \u003ca href=\"http://www.imdb.com/title/tt0086200/?ref_=nv_sr_1\">Risky Business\u003c/a>, \u003ca href=\"http://www.imdb.com/title/tt0113627/?ref_=nv_sr_1\">Leaving Las Vegas\u003c/a>,\u003c/em> \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0108399/?ref_=fn_al_tt_1\">True Romance\u003c/a> -- \u003c/em>a film that features a call girl who specifies that she's only ever had two clients, as a means for audiences to like her more -- and \u003ca href=\"http://www.vh1.com/news/86110/25-hookers-with-hearts-of-gold/\">too many others\u003c/a> to mention. For too long now, a tragic undercurrent has followed almost all on-screen representations of sex workers too.\u003c/p>\n\u003cp>Recent years have seen a moderate shift, as indicated by 2012's joyful, and extremely popular \u003cem>\u003ca href=\"http://www.imdb.com/title/tt1915581/?ref_=nv_sr_1\">Magic Mike\u003c/a>, \u003c/em>(though even that movie ended with Channing Tatum's titular character leaving behind the world of stripping) and \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=cMZhDdNfrE0\">For a Good Time, Call..., \u003c/a>\u003c/em>which went out of its way to represent sex workers as Just Like You And Me. More recently, Hulu's \u003cem>Harlots\u003c/em> series has been praised across the board as both feminist and sex worker-positive:\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/JmUP1idcOhU'\n title='//www.youtube.com/embed/JmUP1idcOhU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>In the end, \u003cem>Rough Night\u003c/em>'s disappointing weekend might push media and movies forward, and allow those who work in the sex industry a place in popular culture that doesn't involve either dehumanization or the need to be saved. After decades of reductive stereotyping, it is most definitely time for a change. \u003cem>Rough Night\u003c/em> just found that out the hard way.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "What Does Mistrial in Cosby's Case Mean in Court of Public Opinion?",
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"content": "\u003cp>It's a depressing question to ask on a Father's Day weekend: What does it mean that a superstar comic and philanthropist once \"America's Dad\" just saw his prosecution on sexual assault charges end in a mistrial?\u003c/p>\n\u003cp>The trial against Bill Cosby ended Saturday, when a deadlocked jury was unable to reach a verdict on three counts of aggravated indecent assault after several days of deliberations. Until and unless the jurors speak, we won't know if just one or two of them declined to convict or if there was more widespread disagreement.\u003c/p>\n\u003cp>Prosecutors have already said they will retry Cosby and people on every side of the issue have used the outcome to argue their cause — from advocates for rape victims concerned that other victims won't be believed to those, including Cosby's wife Camille, who say the jurors resisting conviction stopped an unfair process out to ruin a successful man.\u003c/p>\n\u003cp>I think the verdict shows, once again, how difficult it is to convict a celebrity of serious criminal charges, especially in a case that boils down to taking one non-famous person's word over the celebrity's account.\u003c/p>\n\u003cp>But it also reveals something else: How the court of public opinion can overlook scandal in one pop culture moment, only to deliver a very different verdict in another, later, time. And Cosby isn't the only powerful man to recently find his legacy ground into the dust over a similar dynamic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cosby's defense against Andrea Constand's allegation that he drugged and raped her in 2004 was that they had consensual sex. His deposition testimony in her civil suit revealed the man who has a bestselling book about fatherhood had procured Quaaludes for the purpose of having sex with women who were not his wife.\u003c/p>\n\u003cp>Given that he has been married to Camille Cosby for 53 years, he seemed to be admitting an awful truth to defend himself against even worse accusations.\u003c/p>\n\u003cp>These charges were first reported in the press many years ago; Constand filed a lawsuit against Cosby in 2005 when prosecutors at the time declined to file charges. Her lawyers lined up 13 other women who were ready to testify on similar allegations of being drugged and sexually assaulted by Cosby. Some of them talked to the press, even after Constand settled her lawsuit.\u003c/p>\n\u003cp>But the public's reaction back then was much different. It was as if we all decided to undergo a massive case of cultural amnesia at once, shrugging off the case with little public outcry. As a story on the website \u003ca href=\"http://gawker.com/who-wants-to-remember-bill-cosbys-multiple-sex-assaul-1515923178\">Gawker put it a few years ago\u003c/a>, \"Basically, nobody wanted to live in a world where Bill Cosby was a sexual predator. It was too much to handle.\"\u003c/p>\n\u003cp>And the world seemed to move on — until a joke by comic Hannibal Burress calling Cosby a rapist became a viral video in 2014, inspiring one of his accusers to write an op-ed column for the \u003cem>Washington Post\u003c/em>, which brought an avalanche of new allegations.\u003c/p>\n\u003cp>When those allegations against Cosby were pulled back into the light nearly 10 years later, the public had a much different reaction. Media outlets scrambled to speak to women who alleged he had abused them; 35 of them posed for the cover of \u003cem>New York\u003c/em> magazine. A sitcom deal with NBC vanished, and TV outlets pulled reruns of \u003cem>The Cosby Show\u003c/em>.\u003c/p>\n\u003cp>We had reached a moment where those who allege sexual assault are believed more readily, particularly in the court of public opinion. Women seemed less inclined to accept a world where they have to tolerate harassment and worse from bosses and power brokers. And social media gave a voice to people who might have been overlooked before.\u003c/p>\n\u003cp>Doubt that notion? Then consider the recent fate of Fox News Channel founder Roger Ailes and former Fox News star Bill O'Reilly. Both men saw allegations of sexual harassment and lawsuit settlements rise from the past and smash their current careers. Ailes, who died in May, was ousted from the cable channel built in his image; O'Reilly followed, after the \u003ca href=\"https://www.nytimes.com/2017/04/01/business/media/bill-oreilly-sexual-harassment-fox-news.html?_r=0\">New York Times reported on settlements\u003c/a> with five women totaling about $13 million.\u003c/p>\n\u003cp>And even though Donald Trump was elected president after audio surfaced of him seeming to admit to sexually harassing women, it was perhaps the biggest speedbump in his campaign – the only scandal that looked like it might actually reduce his popularity with his base.\u003c/p>\n\u003cp>Cosby has felt the sting of changed attitudes in another way; how people view his criticism of poor black people as somehow being enablers of their own problems with poverty and oppression. The \u003ca href=\"https://en.wikipedia.org/wiki/Pound_Cake_speech\">comic's words advising young people\u003c/a> to pull up their pants and stop committing petty crimes as an antidote to persistent inequality reminded me of my parents' generation and their approach to survival in an often racist world.\u003c/p>\n\u003cp>I don't think they ever expected white America could be fair enough to elect a black man like Barack Obama president. So the way to survive is to keep your nose clean and never give the system an excuse to come after you. That perspective was summed up in the title of Cosby's 2007 book, \u003cem>Come On, People: On the Path from Victims to Victors\u003c/em>.\u003c/p>\n\u003cp>But there is less patience now for that rhetoric, derided as \"respectability politics.\" As yet another police officer was acquitted Friday in the questionable shooting of a young black man, Philando Castile — sparking hundreds of people to protest in Minnesota — it seems that keeping your nose clean isn't enough.\u003c/p>\n\u003cp>After decades covering show business, I'll never underestimate Hollywood's capacity for overlooking people's heinous pasts to make money (Exhibit A: Mel Gibson's co-starring turn in the new Will Ferrell/Mark Wahlberg movie \u003cem>Daddy's Home 2\u003c/em>. Exhibit B: Mark Wahlberg's career in general).\u003c/p>\n\u003cp>But it's tough to imagine another major corporation lining up to work with Cosby again. His career is likely over, with decades of philanthropy and role modeling washed away by the star's own admission that he cheated on his wife many, many times, and allegations from dozens of women that he did far worse.\u003c/p>\n\u003cp>For those convinced of his guilt in Constand's case, that's not likely to feel like justice. But in a world where money, power and celebrity still buy exemption from quite a lot of rules, a guilty verdict in the court of public opinion may be the best outcome possible.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>At least, until a little more time passes.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+Does+Mistrial+In+Cosby%27s+Case+Mean+In+Court+Of+Public+Opinion%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It's a depressing question to ask on a Father's Day weekend: What does it mean that a superstar comic and philanthropist once \"America's Dad\" just saw his prosecution on sexual assault charges end in a mistrial?\u003c/p>\n\u003cp>The trial against Bill Cosby ended Saturday, when a deadlocked jury was unable to reach a verdict on three counts of aggravated indecent assault after several days of deliberations. Until and unless the jurors speak, we won't know if just one or two of them declined to convict or if there was more widespread disagreement.\u003c/p>\n\u003cp>Prosecutors have already said they will retry Cosby and people on every side of the issue have used the outcome to argue their cause — from advocates for rape victims concerned that other victims won't be believed to those, including Cosby's wife Camille, who say the jurors resisting conviction stopped an unfair process out to ruin a successful man.\u003c/p>\n\u003cp>I think the verdict shows, once again, how difficult it is to convict a celebrity of serious criminal charges, especially in a case that boils down to taking one non-famous person's word over the celebrity's account.\u003c/p>\n\u003cp>But it also reveals something else: How the court of public opinion can overlook scandal in one pop culture moment, only to deliver a very different verdict in another, later, time. And Cosby isn't the only powerful man to recently find his legacy ground into the dust over a similar dynamic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cosby's defense against Andrea Constand's allegation that he drugged and raped her in 2004 was that they had consensual sex. His deposition testimony in her civil suit revealed the man who has a bestselling book about fatherhood had procured Quaaludes for the purpose of having sex with women who were not his wife.\u003c/p>\n\u003cp>Given that he has been married to Camille Cosby for 53 years, he seemed to be admitting an awful truth to defend himself against even worse accusations.\u003c/p>\n\u003cp>These charges were first reported in the press many years ago; Constand filed a lawsuit against Cosby in 2005 when prosecutors at the time declined to file charges. Her lawyers lined up 13 other women who were ready to testify on similar allegations of being drugged and sexually assaulted by Cosby. Some of them talked to the press, even after Constand settled her lawsuit.\u003c/p>\n\u003cp>But the public's reaction back then was much different. It was as if we all decided to undergo a massive case of cultural amnesia at once, shrugging off the case with little public outcry. As a story on the website \u003ca href=\"http://gawker.com/who-wants-to-remember-bill-cosbys-multiple-sex-assaul-1515923178\">Gawker put it a few years ago\u003c/a>, \"Basically, nobody wanted to live in a world where Bill Cosby was a sexual predator. It was too much to handle.\"\u003c/p>\n\u003cp>And the world seemed to move on — until a joke by comic Hannibal Burress calling Cosby a rapist became a viral video in 2014, inspiring one of his accusers to write an op-ed column for the \u003cem>Washington Post\u003c/em>, which brought an avalanche of new allegations.\u003c/p>\n\u003cp>When those allegations against Cosby were pulled back into the light nearly 10 years later, the public had a much different reaction. Media outlets scrambled to speak to women who alleged he had abused them; 35 of them posed for the cover of \u003cem>New York\u003c/em> magazine. A sitcom deal with NBC vanished, and TV outlets pulled reruns of \u003cem>The Cosby Show\u003c/em>.\u003c/p>\n\u003cp>We had reached a moment where those who allege sexual assault are believed more readily, particularly in the court of public opinion. Women seemed less inclined to accept a world where they have to tolerate harassment and worse from bosses and power brokers. And social media gave a voice to people who might have been overlooked before.\u003c/p>\n\u003cp>Doubt that notion? Then consider the recent fate of Fox News Channel founder Roger Ailes and former Fox News star Bill O'Reilly. Both men saw allegations of sexual harassment and lawsuit settlements rise from the past and smash their current careers. Ailes, who died in May, was ousted from the cable channel built in his image; O'Reilly followed, after the \u003ca href=\"https://www.nytimes.com/2017/04/01/business/media/bill-oreilly-sexual-harassment-fox-news.html?_r=0\">New York Times reported on settlements\u003c/a> with five women totaling about $13 million.\u003c/p>\n\u003cp>And even though Donald Trump was elected president after audio surfaced of him seeming to admit to sexually harassing women, it was perhaps the biggest speedbump in his campaign – the only scandal that looked like it might actually reduce his popularity with his base.\u003c/p>\n\u003cp>Cosby has felt the sting of changed attitudes in another way; how people view his criticism of poor black people as somehow being enablers of their own problems with poverty and oppression. The \u003ca href=\"https://en.wikipedia.org/wiki/Pound_Cake_speech\">comic's words advising young people\u003c/a> to pull up their pants and stop committing petty crimes as an antidote to persistent inequality reminded me of my parents' generation and their approach to survival in an often racist world.\u003c/p>\n\u003cp>I don't think they ever expected white America could be fair enough to elect a black man like Barack Obama president. So the way to survive is to keep your nose clean and never give the system an excuse to come after you. That perspective was summed up in the title of Cosby's 2007 book, \u003cem>Come On, People: On the Path from Victims to Victors\u003c/em>.\u003c/p>\n\u003cp>But there is less patience now for that rhetoric, derided as \"respectability politics.\" As yet another police officer was acquitted Friday in the questionable shooting of a young black man, Philando Castile — sparking hundreds of people to protest in Minnesota — it seems that keeping your nose clean isn't enough.\u003c/p>\n\u003cp>After decades covering show business, I'll never underestimate Hollywood's capacity for overlooking people's heinous pasts to make money (Exhibit A: Mel Gibson's co-starring turn in the new Will Ferrell/Mark Wahlberg movie \u003cem>Daddy's Home 2\u003c/em>. Exhibit B: Mark Wahlberg's career in general).\u003c/p>\n\u003cp>But it's tough to imagine another major corporation lining up to work with Cosby again. His career is likely over, with decades of philanthropy and role modeling washed away by the star's own admission that he cheated on his wife many, many times, and allegations from dozens of women that he did far worse.\u003c/p>\n\u003cp>For those convinced of his guilt in Constand's case, that's not likely to feel like justice. But in a world where money, power and celebrity still buy exemption from quite a lot of rules, a guilty verdict in the court of public opinion may be the best outcome possible.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Amber Rose Just Made Piers Morgan Regret Mansplaining Feminism to Her",
"title": "Amber Rose Just Made Piers Morgan Regret Mansplaining Feminism to Her",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>For much of Monday morning, \u003ca href=\"https://twitter.com/darealamberrose\">Amber Rose\u003c/a> and \u003ca href=\"https://twitter.com/piersmorgan\">Piers Morgan\u003c/a> exchanged increasingly jaw-dropping barbs on Twitter, after Morgan objected to Rose's partially \u003ca href=\"https://twitter.com/DaRealAmberRose/status/873966359079604224/photo/1\">nude promo photo\u003c/a> for her upcoming \u003ca href=\"http://amberroseslutwalk.com/general-information/\">Slutwalk\u003c/a> (coming this October). Morgan responded to Rose's gorgeous, NSFW photo by reposting it on his Twitter page and asserting: \"This is not feminism. It's attentionseekingism.\"\u003c/p>\n\u003cp>It's worth noting at this juncture that Piers Morgan has a history of body-shaming famous women. When Kim Kardashian posted one of \u003ca href=\"https://twitter.com/KimKardashian/status/706754164047667200/photo/1?ref_src=twsrc%5Etfw&ref_url=https%3A%2F%2Fwww.thecut.com%2F2016%2F03%2Fkim-kardashian-chloe-grace-moretz-piers-morgan-twitter.html\">her naked selfies\u003c/a> (the one with the strategically placed black bars), Morgan referred to the photo as \"absurd,\" and asked her, via Twitter: \"Want me to buy you some clothes?\"\u003c/p>\n\u003cp>On another occasion, Susan Sarandon's cleavage prompted this response:\u003cbr>\n\u003cimg class=\"size-full wp-image-85954 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/Screen-Shot-2017-06-12-at-11.38.27-AM.png\" alt=\"\" width=\"600\" height=\"539\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/Screen-Shot-2017-06-12-at-11.38.27-AM.png 600w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Screen-Shot-2017-06-12-at-11.38.27-AM-160x144.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Screen-Shot-2017-06-12-at-11.38.27-AM-240x216.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Screen-Shot-2017-06-12-at-11.38.27-AM-375x337.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Screen-Shot-2017-06-12-at-11.38.27-AM-520x467.png 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>Rose \u003ca href=\"https://twitter.com/DaRealAmberRose/status/874290105636208640\">initially responded\u003c/a> to Morgan's mansplaining of feminism with emojis and an upbeat note about bringing more attention to her cause. When Morgan then \u003ca href=\"https://twitter.com/GabbyBraca/status/874287015747104768\">re-Tweeted one of his supporters\u003c/a> saying \"It's pornography. Period,\" Rose got more personal:\u003c/p>\n\u003cp>https://twitter.com/DaRealAmberRose/status/874295032299134981\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It was at this point that things went south rather rapidly. In an extremely ill-advised move, Morgan then decided to slut-shame the most famous anti-slut-shaming campaigner in America, tweeting: \"You seem like the type of girl who'd star in it.\"\u003c/p>\n\u003cp>When men like Piers Morgan indulge in the consistent shaming of women, it is impossible for women everywhere not to wonder whether these aghast opinions are rooted in an underlying need to control women or in the body-shamer's own personal sexual hang-ups.\u003c/p>\n\u003cp>This morning, something about being publicly slut-shamed, while in the midst of promoting an anti-slut-shaming march, sent Amber Rose down a new and hilarious path: shaming Piers Morgan for his own sexual repression.\u003c/p>\n\u003cp>https://twitter.com/DaRealAmberRose/status/874299081182461952\u003c/p>\n\u003cp>Rose was on a roll:\u003c/p>\n\u003cp>https://twitter.com/DaRealAmberRose/status/874300246251061248\u003c/p>\n\u003cp>Morgan tried to keep up, but was obviously a little flustered by the sex talk:\u003c/p>\n\u003cp>https://twitter.com/piersmorgan/status/874300599097077764\u003c/p>\n\u003cp>Rose was relentless:\u003c/p>\n\u003cp>https://twitter.com/DaRealAmberRose/status/874301643159764992\u003c/p>\n\u003cp>In the end, Morgan hid behind British customs and asked if Rose would like to have a cup of tea and \"discuss where you're going wrong re feminism.\" Still not one to be cowed, Rose suggested the two of them hash this discussion out on one of their shows and Morgan said he would get \"my people to talk to your people.\"\u003c/p>\n\u003cp>If you examine Piers Morgan's Twitter profile, it is clear that, far more often than not, he is the argument starter. He couldn't even get out of the discussion with Amber Rose today without taking a \u003ca href=\"https://twitter.com/piersmorgan/status/874306990767517697\">swipe at Lady Gaga\u003c/a> at the end. So there is an argument to be made here that Morgan is little more than a high-profile troll. One could argue that he gets himself into these public spats and spends his time swiping at people more famous than him on social media, in order to maintain his own public profile.\u003c/p>\n\u003cp>Today though, Morgan accidentally did something useful: he did Amber Rose a favor by raising the profile of her third annual Slutwalk (over three months before it's even due to happen), while also inadvertently demonstrating why Slutwalks are so necessary and important for modern, assertive women.\u003c/p>\n\u003cp>What conservative male public figures don't seem to understand every time they tell a feminist she's doing feminism wrong is that it only serves to motivate other feminists. (See also: \u003ca href=\"https://en.wikipedia.org/wiki/Rush_Limbaugh%E2%80%93Sandra_Fluke_controversy\">Rush Limbaugh attacking Sandra Fluke\u003c/a>, and Bill O'Reilly repeatedly asserting that women are treated \u003ca href=\"https://www.youtube.com/watch?v=LjbTsqnkHWY&t=191s\">fairly and equally\u003c/a>, while paying out $13 million to \u003ca href=\"http://variety.com/2017/tv/news/bill-oreilly-fired-sexual-harassment-fox-news-timeline-1202372546/\">suppress sexual harassment cases\u003c/a> from being brought against him.)\u003c/p>\n\u003cp>Morgan's belief that feminism and sexuality do not and cannot mix is ridiculous and hideously outdated, yet many conservatives cling to it, in an attempt to shame women out of taking charge of their own bodies. Amber Rose, in her typically unflappable manner, provided a means to shut that nonsense down in a manner that is playful, entertaining, challenging, and, best of all, embarrassing for the shamer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For every woman who has ever had their own sexuality judged, analyzed, and dissected by a man in their vicinity, watching a smug and stuffy middle-aged man try to shut down a confident, powerful woman is usually excruciating. Somehow, today, Amber Rose managed to flip the script and come out on top. And it was glorious.\u003c/p>\n\n",
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"excerpt": "Amber Rose used Piers Morgan's own sexual repression against him today, and basically won Twitter.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For much of Monday morning, \u003ca href=\"https://twitter.com/darealamberrose\">Amber Rose\u003c/a> and \u003ca href=\"https://twitter.com/piersmorgan\">Piers Morgan\u003c/a> exchanged increasingly jaw-dropping barbs on Twitter, after Morgan objected to Rose's partially \u003ca href=\"https://twitter.com/DaRealAmberRose/status/873966359079604224/photo/1\">nude promo photo\u003c/a> for her upcoming \u003ca href=\"http://amberroseslutwalk.com/general-information/\">Slutwalk\u003c/a> (coming this October). Morgan responded to Rose's gorgeous, NSFW photo by reposting it on his Twitter page and asserting: \"This is not feminism. It's attentionseekingism.\"\u003c/p>\n\u003cp>It's worth noting at this juncture that Piers Morgan has a history of body-shaming famous women. When Kim Kardashian posted one of \u003ca href=\"https://twitter.com/KimKardashian/status/706754164047667200/photo/1?ref_src=twsrc%5Etfw&ref_url=https%3A%2F%2Fwww.thecut.com%2F2016%2F03%2Fkim-kardashian-chloe-grace-moretz-piers-morgan-twitter.html\">her naked selfies\u003c/a> (the one with the strategically placed black bars), Morgan referred to the photo as \"absurd,\" and asked her, via Twitter: \"Want me to buy you some clothes?\"\u003c/p>\n\u003cp>On another occasion, Susan Sarandon's cleavage prompted this response:\u003cbr>\n\u003cimg class=\"size-full wp-image-85954 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/Screen-Shot-2017-06-12-at-11.38.27-AM.png\" alt=\"\" width=\"600\" height=\"539\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/Screen-Shot-2017-06-12-at-11.38.27-AM.png 600w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Screen-Shot-2017-06-12-at-11.38.27-AM-160x144.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Screen-Shot-2017-06-12-at-11.38.27-AM-240x216.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Screen-Shot-2017-06-12-at-11.38.27-AM-375x337.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Screen-Shot-2017-06-12-at-11.38.27-AM-520x467.png 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>Rose \u003ca href=\"https://twitter.com/DaRealAmberRose/status/874290105636208640\">initially responded\u003c/a> to Morgan's mansplaining of feminism with emojis and an upbeat note about bringing more attention to her cause. When Morgan then \u003ca href=\"https://twitter.com/GabbyBraca/status/874287015747104768\">re-Tweeted one of his supporters\u003c/a> saying \"It's pornography. Period,\" Rose got more personal:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It was at this point that things went south rather rapidly. In an extremely ill-advised move, Morgan then decided to slut-shame the most famous anti-slut-shaming campaigner in America, tweeting: \"You seem like the type of girl who'd star in it.\"\u003c/p>\n\u003cp>When men like Piers Morgan indulge in the consistent shaming of women, it is impossible for women everywhere not to wonder whether these aghast opinions are rooted in an underlying need to control women or in the body-shamer's own personal sexual hang-ups.\u003c/p>\n\u003cp>This morning, something about being publicly slut-shamed, while in the midst of promoting an anti-slut-shaming march, sent Amber Rose down a new and hilarious path: shaming Piers Morgan for his own sexual repression.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Rose was on a roll:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Morgan tried to keep up, but was obviously a little flustered by the sex talk:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Rose was relentless:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In the end, Morgan hid behind British customs and asked if Rose would like to have a cup of tea and \"discuss where you're going wrong re feminism.\" Still not one to be cowed, Rose suggested the two of them hash this discussion out on one of their shows and Morgan said he would get \"my people to talk to your people.\"\u003c/p>\n\u003cp>If you examine Piers Morgan's Twitter profile, it is clear that, far more often than not, he is the argument starter. He couldn't even get out of the discussion with Amber Rose today without taking a \u003ca href=\"https://twitter.com/piersmorgan/status/874306990767517697\">swipe at Lady Gaga\u003c/a> at the end. So there is an argument to be made here that Morgan is little more than a high-profile troll. One could argue that he gets himself into these public spats and spends his time swiping at people more famous than him on social media, in order to maintain his own public profile.\u003c/p>\n\u003cp>Today though, Morgan accidentally did something useful: he did Amber Rose a favor by raising the profile of her third annual Slutwalk (over three months before it's even due to happen), while also inadvertently demonstrating why Slutwalks are so necessary and important for modern, assertive women.\u003c/p>\n\u003cp>What conservative male public figures don't seem to understand every time they tell a feminist she's doing feminism wrong is that it only serves to motivate other feminists. (See also: \u003ca href=\"https://en.wikipedia.org/wiki/Rush_Limbaugh%E2%80%93Sandra_Fluke_controversy\">Rush Limbaugh attacking Sandra Fluke\u003c/a>, and Bill O'Reilly repeatedly asserting that women are treated \u003ca href=\"https://www.youtube.com/watch?v=LjbTsqnkHWY&t=191s\">fairly and equally\u003c/a>, while paying out $13 million to \u003ca href=\"http://variety.com/2017/tv/news/bill-oreilly-fired-sexual-harassment-fox-news-timeline-1202372546/\">suppress sexual harassment cases\u003c/a> from being brought against him.)\u003c/p>\n\u003cp>Morgan's belief that feminism and sexuality do not and cannot mix is ridiculous and hideously outdated, yet many conservatives cling to it, in an attempt to shame women out of taking charge of their own bodies. Amber Rose, in her typically unflappable manner, provided a means to shut that nonsense down in a manner that is playful, entertaining, challenging, and, best of all, embarrassing for the shamer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For every woman who has ever had their own sexuality judged, analyzed, and dissected by a man in their vicinity, watching a smug and stuffy middle-aged man try to shut down a confident, powerful woman is usually excruciating. Somehow, today, Amber Rose managed to flip the script and come out on top. And it was glorious.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Here's What The Future Has in Store... According to Sci-Fi Movies",
"title": "Here's What The Future Has in Store... According to Sci-Fi Movies",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>\u003cem>This piece was inspired by an episode of \u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\" rel=\"noopener noreferrer\">The Cooler\u003c/a>, KQED’s weekly pop culture podcast. Give it a listen!\u003c/em>\u003c/p>\n\u003cp>[audio src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2017/06/Future.mp3\" title=\"What Do Bad Sci-Fi Movies Predict for the Next Four Years?\" program=\"The Cooler\" image=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/clo.jpg\"]\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003cdiv>\u003c/div>\n\u003c/aside>\n\u003cp>\u003cspan style=\"font-weight: 400\">With the ceaseless surprises and revelations of the Current News Cycle™, one could be forgiven for wondering: “If this is just the \u003cem>first\u003c/em> \u003cem>half\u003c/em> of 2017, what in God’s name do the next four years hold for us?” Since political polls, gut instinct, and common sense seem to be failing, why \u003c/span>\u003cspan style=\"font-weight: 400\">not\u003c/span>\u003ci> \u003c/i>\u003cspan style=\"font-weight: 400\">turn to a medium that \u003cem>never\u003c/em> gets it wrong in predicting the future: the movies? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Whether out of a desire for freedom of imagination, or just a fear of looking a bit silly when “2004” comes and goes without an apocalypse and/or flying cars, today’s filmmakers usually prefer to set their science fiction in a vague, undated version of The Future—one that allows for far more wiggle-room. Luckily, the hubristic action auteurs of the '80s, '90s, and early noughties clearly had \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">no \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">such qualms about firmly nailing their ideas to the proverbial church door, complete with conveniently firm calendar years. So, let’s see what the near future, as imagined by the sci-fi B-movies of yesteryear, apparently holds, shall we?\u003c/span>\u003c/p>\n\u003ch3>\u003cb>2017 as envisioned by... \u003c/b>\u003ca href=\"http://www.imdb.com/title/tt0093894/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cb>\u003ci>The Running Man\u003c/i>\u003c/b>\u003c/a>\u003cb> (1987)\u003c/b>\u003c/h3>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Tagline: Welcome to America in 2019, when the best men don't run for president... They run for their lives.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=i2FMhBg0h_8\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Those of us lucky enough to have experienced this bonkers exemplar of 1980s Arnold Schwarzenegger excess know that the fact that its own \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">poster \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">disagrees with itself on which year it’s set (2019? 2017? Who cares!) is by far the least strange thing about it. Based on a short story by Stephen King, \u003cem>The Running Man\u003c/em> predicted that in 2017, America would be a suffocating, culture-free police state where the top-rated TV game show consists entirely of people murdering each other live every night. As bizarre—and let’s be honest, premature—as it feels to congratulate ourselves for this, we haven’t got to that last bit \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">quite \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">yet.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_86434\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-full wp-image-86434\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/arnold-2.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/arnold-2.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/arnold-2-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/arnold-2-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/arnold-2-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/arnold-2-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/arnold-2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former California Governor Arnold Schwarzenegger in 'The Running Man' \u003ccite>(TriStar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">A lot of commentators actually \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2017/01/in-1987-arnold-schwarzenegger-helped-to-predict-2017/512255/\" target=\"_blank\" rel=\"noopener noreferrer\">think \u003c/a>\u003ca href=\"http://www.bbc.com/future/story/20170105-why-we-may-be-living-in-the-future-of-the-running-man\" target=\"_blank\" rel=\"noopener noreferrer\">this movie\u003c/a> \u003ca href=\"https://motherboard.vice.com/en_us/article/the-trump-schwarzenegger-feud-shows-how-the-running-man-predicted-2017\" target=\"_blank\" rel=\"noopener noreferrer\">says a lot\u003c/a> \u003ca href=\"http://www.independent.co.uk/arts-entertainment/films/features/the-violent-post-truth-2017-predicted-in-the-running-man-we-re-living-in-it-a7506776.html\" target=\"_blank\" rel=\"noopener noreferrer\">about the way we live now\u003c/a>, and homicide aside, that's not so outlandish. Its loopy vision of the way reality TV and politics can become one really isn’t a foreign notion, with shiny spectacle being used by those in power as a distraction from totalitarian intent—by a U.S. President with a showbiz agent, no less. Neither is an appeal by those in power to the people’s baser impulses to acquire and retain that power. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s also something a little too familiar in the way the puppet-masters behind the show manipulate the truth to present an alternative reality for reality TV: one in which good guy Schwarzenegger, innocent of the crime he’s been imprisoned for, is parachuted into the show as prey and sold to the baying audience as a ruthless killer who deserves everything he gets. But before we get carried away lauding Arnie as the new Aldous Huxley, this movie also features a bunch of sweet jetpacks and a weird insistence on endless aerobic dance numbers (choreographed, incidentally, by Paula Abdul). And I don’t think we’re anywhere \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">near \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">as obsessed with aerobics right now as this movie thinks.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>2017 Plausibility Rating:\u003c/em> Thumbs up to reality TV and post-truth fake news, thumbs down for aerobics and jetpacks. \u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003cb>2017 as envisioned by... \u003c/b>\u003ca href=\"http://www.imdb.com/title/tt0115624/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cb>\u003ci>Barb Wire\u003c/i>\u003c/b>\u003c/a>\u003cb> (1996)\u003c/b>\u003c/h3>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Tagline: No Laws, No Limits, No Turning Back\u003c/span>\u003c/i>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=F2mk5MZwksg\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now, a little less believability for your futurescape! This version of 2017, based on the comic book series of the same name, posits that by now this country will have been utterly ravaged by the “Second American Civil War”—exactly the kind of lawless environment in which titular mercenary, bounty hunter, and nightclub owner Barb Wire (Pamela Anderson) can easily hold down three jobs.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_86223\" class=\"wp-caption alignnone\" style=\"max-width: 768px\">\u003cimg class=\"size-full wp-image-86223\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/gallery-1483461030-barb-wire.jpg\" alt=\"\" width=\"768\" height=\"416\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/gallery-1483461030-barb-wire.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/gallery-1483461030-barb-wire-160x87.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/gallery-1483461030-barb-wire-240x130.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/gallery-1483461030-barb-wire-375x203.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/gallery-1483461030-barb-wire-520x282.jpg 520w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">Pamela Anderson in 'Barb Wire' \u003ccite>(Gramercy Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The plot, which claims to be “loosely based” on the plot of Casablanca, finds Barb becoming embroiled in a plot to help a group of freedom-loving folks escape over the border to—where else?—Canada. You may laugh, but didn’t overwhelming interest in emigrating to the land of Trudeau and universal healthcare \u003ca href=\"http://www.bbc.com/news/technology-37921376\" target=\"_blank\" rel=\"noopener noreferrer\">crash the Canadian Immigration and Citizenship website just after the 2016 U.S. election\u003c/a>? And that was \u003cem>without\u003c/em> a civil war to light the proverbial fire under you.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>2017 Plausibility Rating:\u003c/em> “Oui” to Canadian refuge, “Non” to outright civil war (yet—it’s only June, after all.)\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003cb>2017 as envisioned by... \u003c/b>\u003ca href=\"http://www.imdb.com/title/tt0106950/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cb>\u003ci>Fortress \u003c/i>\u003c/b>\u003c/a>\u003cb>(1992)\u003c/b>\u003c/h3>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Tagline: A Prison of the Future. A High-Tech Hell. Built to Hold Anything... Except an Innocent Man.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3U6oLx3xy8s\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Unencumbered by any pretense of \u003ca href=\"https://youtu.be/pYMXduKStjs?t=1m45s\" target=\"_blank\" rel=\"noopener noreferrer\">a Scottish accent\u003c/a>, Christopher Lambert of \u003ca href=\"http://www.imdb.com/title/tt0091203/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Highlander \u003c/i>\u003c/a>fame plays an ex-army officer living under a regime that’s instituted a punitive one-child policy for all Americans. He attempts to flee with his pregnant wife over the border to—wait for it—Canada. In this dystopia, dissenters are dispatched to the Fortress of the title: a private maximum security prison run by the Men-Tel Corporation (if that’s not too subtle for you?), where inmates are implanted with \"Intestinators\" that’ll explode inside anyone trying to escape, and where second babies are declared illegal, extracted, and and turned into cyborgs. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_86224\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg class=\"size-full wp-image-86224\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/01119.jpg\" alt=\"\" width=\"600\" height=\"413\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/01119.jpg 600w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/01119-160x110.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/01119-240x165.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/01119-375x258.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/01119-520x358.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Christopher Lambert in 'Fortress' \u003ccite>(Dimension Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Early ‘90s action hokiness aside, the privatization of America’s justice system is far from a foreign notion, and the fertility plot admittedly offers some serious \u003c/span>\u003ca href=\"https://en.wikipedia.org/wiki/The_Handmaid%27s_Tale\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">Handmaid’s Tale\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> vibes for these troubling times. So if America stays its current course of viewing reproductive rights as an entirely optional thing, perhaps the most implausible thing about \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Fortress \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">by the end of this year will just be that tagline, which seems to quaintly suggest that prisoner innocence is somehow an entirely alien concept within the U.S. justice system. \u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>2017 Plausibility Rating:\u003c/em> “Aye” for the Prison Industrial Complex, Canadian utopia (again), and reproductive nightmares. “Nay” for cyborg babies.\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003cb>2018 as envisioned by... \u003c/b>\u003ca href=\"http://www.imdb.com/title/tt0438488/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>\u003ci>Terminator Salvation \u003c/i>\u003c/b>\u003c/a>\u003cb>(2009)\u003c/b>\u003c/h3>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Tagline: The End Begins\u003c/span>\u003c/i>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-Czz-TcWCkA\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This movie, which is more usually known as “The Terminator sequel with Christian Bale in it,” and which might actually be the most joyless action movie of the last decade, was the only one I could find explicitly set in the year 2018.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_86226\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-86226\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/Terminator_salvation_13.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/Terminator_salvation_13.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Terminator_salvation_13-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Terminator_salvation_13-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Terminator_salvation_13-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Terminator_salvation_13-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Terminator_salvation_13-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Terminator_salvation_13-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Terminator_salvation_13-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Terminator_salvation_13-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Terminator_salvation_13-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A Terminator in 'Terminator Salvation' \u003ccite>(Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">So dull is its vision of a post-apocalyptic America in ruins, most people don’t actually recall seeing \u003cem>Terminator Salvation\u003c/em>, even if they \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">have—\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">but in essence, this movie hypothesized that we’d have been at war with murderous cyborgs since 2003, who have also worked out how to genetically engineer human-cyborg hybrids. While 2003 wasn’t a great year for a lot of us, I don’t \u003cem>recall\u003c/em> a robot apocalypse taking place, so to be honest we don’t even need to give this one a 2018 Plausibility Rating.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003cb>2019 as envisioned by... \u003c/b>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ca href=\"http://www.imdb.com/title/tt0083658/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cb>\u003ci>Blade Runner\u003c/i>\u003c/b>\u003c/a>\u003cb> (1982)\u003c/b>\u003c/h3>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Tagline: Man Has Met His Match.. Now It’s His Problem\u003c/span>\u003c/i>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eogpIG53Cis\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Trust me, I’m as angry as you are about the fact that \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Blade Runner\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is appearing in the same round-up as\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> Terminator Salvation\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Barb Wire—\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">but as concretely-timestamped imaginings of the hell that awaits us in the future, they don’t come finer. \u003c/span>\u003cspan style=\"font-weight: 400\">To get the (synthetic) elephant in the room out of the way: it’s highly unlikely that by 2019, humankind will have expanded into space so comprehensively as to have created the off-world colonies imagined in this movie. Or that we’ll have\u003ca href=\"http://bladerunner.wikia.com/wiki/Priscilla_Stratton\" target=\"_blank\" rel=\"noopener noreferrer\"> sentient, angsty replicants that look like Darryl Hannah\u003c/a>, let alone an entire division of the LAPD dedicated to hunting them down. But because \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Blade Runner\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is a truly great movie from the mind of Philip K. Dick, it dares to make some interesting, considered thought-out predictions about what 2019 might look and feel like beyond just “there will be jumpsuits.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_86227\" class=\"wp-caption alignnone\" style=\"max-width: 1600px\">\u003cimg class=\"size-full wp-image-86227\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/Blade_Runner_1982_673.jpg\" alt=\"\" width=\"1600\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/Blade_Runner_1982_673.jpg 1600w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Blade_Runner_1982_673-160x80.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Blade_Runner_1982_673-800x400.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Blade_Runner_1982_673-768x384.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Blade_Runner_1982_673-1020x510.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Blade_Runner_1982_673-1180x590.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Blade_Runner_1982_673-960x480.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Blade_Runner_1982_673-240x120.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Blade_Runner_1982_673-375x188.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Blade_Runner_1982_673-520x260.jpg 520w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">2019 L.A., flying cars and all, in 'Blade Runner' \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Many futuristic movies insist on imbuing their settings with a blown-out shininess that’s meant to be a visual signifier of The Future, but\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> Blade Runner \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">at least nails \u003ca href=\"https://www.youtube.com/watch?v=aFJF2CRASRM\" target=\"_blank\" rel=\"noopener noreferrer\">how polluted and grimy any big American city will almost certainly look in two years’ time\u003c/a>—gigantic, oppressive digital billboards and all. One of the more intriguing, plausible predictions is a change in spoken language—people in \u003cem>Blade Runner\u003c/em>’s 2019 Los Angeles speak a new patois that mixes European and East Asian languages, which is not far fetched at all. Also, space exploration in this world seems to be pretty privatized, which, \u003ca href=\"http://www.virgingalactic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">if Richard Branson gets his way\u003c/a>, is exactly how it’ll be.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>2019 Plausibility Rating\u003c/em>: Off-world colonies, replicants and (yes) flying cars—probably not. Pretty much everything else—seems legit.\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003cb>2019 as envisioned by... \u003c/b>\u003cb>\u003ci>The Island\u003c/i>\u003c/b>\u003cb> (2005)\u003c/b>\u003c/h3>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Tagline: Plan Your Escape\u003c/span>\u003c/i>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_ZyNJ3cKfEg\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Up against \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Blade Runner, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">all other visions of 2019 seem a tad redundant, which makes this utterly forgotten clunker from the strange days when “they” were trying to make Ewan McGregor an action hero even less worthy of your consideration. In this version of 2019, if you’re rich, you can afford your own handy identical clone, which will live its own life, until you’re in need of a new eye, or arm, or surrogate womb—at which point, your doppelgänger is ruthlessly harvested for its constituent parts. But your clone doesn’t \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">know \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">it’s a clone! What happens when the clones fight back?\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_86228\" class=\"wp-caption alignnone\" style=\"max-width: 1600px\">\u003cimg class=\"size-full wp-image-86228\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/FILzMNQQm157PL_1_a.jpg\" alt=\"\" width=\"1600\" height=\"900\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/FILzMNQQm157PL_1_a.jpg 1600w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/FILzMNQQm157PL_1_a-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/FILzMNQQm157PL_1_a-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/FILzMNQQm157PL_1_a-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/FILzMNQQm157PL_1_a-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/FILzMNQQm157PL_1_a-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/FILzMNQQm157PL_1_a-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/FILzMNQQm157PL_1_a-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/FILzMNQQm157PL_1_a-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/FILzMNQQm157PL_1_a-520x293.jpg 520w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Scarlett Johansson and Ewan McGregor in 'The Island' \u003ccite>(DreamWorks Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Even though it’s sort of another imagining of a 2019 society that sees synthetic people as an acceptable moral compromise in the face of mortal frailty, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Island\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is a \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">tad \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">less concerned than \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Blade Runner\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> with the devastating philosophical complexities of what it truly means to be human. In other words, it's basically \u003c/span>\u003ca href=\"https://en.wikipedia.org/wiki/Never_Let_Me_Go_(novel)\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">Never Let Me Go \u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">for morons.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>2019 Plausibility Rating:\u003c/em> A probably-nope for clone harvesting (I mean, it is two whole years away) and a definitely-nope for Ewan McGregor as action hero—in 2019, or any other year.\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003cb>2020 as envisioned by... \u003c/b>\u003ca href=\"https://www.imdb.com/title/tt0253556/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cb>\u003ci>Reign of Fire \u003c/i>\u003c/b>\u003c/a>\u003cb>(2002)\u003c/b>\u003c/h3>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Tagline: Fight Fire With Fire\u003c/span>\u003c/i>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Wg7bjwEXp7Y\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Yes, if we haven’t been wiped out by the Second American Civil War or a robo-apocalypse by then, we will have to undergo another U.S. presidential election. But according to this movie, we might have bigger problems in 2020… because we’ll be at war with dragons.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_86230\" class=\"wp-caption alignnone\" style=\"max-width: 720px\">\u003cimg class=\"size-full wp-image-86230\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/reign-of-fire.jpg\" alt=\"\" width=\"720\" height=\"304\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/reign-of-fire.jpg 720w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/reign-of-fire-160x68.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/reign-of-fire-240x101.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/reign-of-fire-375x158.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/reign-of-fire-520x220.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">'Reign of Fire' \u003ccite>(Buena Vista Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Because \u003ca href=\"https://en.wikipedia.org/wiki/Reign_of_Fire_(film)\" target=\"_blank\" rel=\"noopener noreferrer\">Wikipedia synopses\u003c/a> often say it best, this movie is set “twenty years after London tunneling project workers inadvertently awakened dragons from centuries of slumber and the creatures have subsequently replaced humans as the dominant species on Earth.” The War on Dragons, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Reign of Fire \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">supposes, will have knocked mankind back to a kind of Dark Ages, where flaming crossbows are our primary weapons, and all men must sport impressive beards. There’s very little else to say about this—admittedly very fun—film, other than that it boasts Matthew McConaughey at the very nascence of the career resurrection known as “\u003ca href=\"http://www.newyorker.com/culture/culture-desk/the-mcconaissance\" target=\"_blank\" rel=\"noopener noreferrer\">The McConaissance\u003c/a>,” and is a way better futuristic movie starring Christian Bale than \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Terminator Salvation\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>2020 Plausibility Rating\u003c/em>: Why am I even asking. 100%!\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>In summary, if low-grade sci-fi movies (and \u003cem>Blade Runner\u003c/em>) offer us any wise predictions for the next four years, it’s that:\u003c/b>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Cloning and/or cyborg-human hybrids are just around the corner.\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">That very technology will almost certain try to kill us.\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">If it doesn’t manage it, privatization and the corporate interests of a shadowy business elite will instead.\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">You should submit your asylum application to Canada right now to beat the rush.\u003c/span>\u003c/li>\n\u003c/ul>\n\n",
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"excerpt": "Since political polls and common sense seem to be failing, why not turn to a medium that never gets it wrong in predicting the future: the movies? ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This piece was inspired by an episode of \u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\" rel=\"noopener noreferrer\">The Cooler\u003c/a>, KQED’s weekly pop culture podcast. Give it a listen!\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003cdiv>\u003c/div>\n\u003c/aside>\n\u003cp>\u003cspan style=\"font-weight: 400\">With the ceaseless surprises and revelations of the Current News Cycle™, one could be forgiven for wondering: “If this is just the \u003cem>first\u003c/em> \u003cem>half\u003c/em> of 2017, what in God’s name do the next four years hold for us?” Since political polls, gut instinct, and common sense seem to be failing, why \u003c/span>\u003cspan style=\"font-weight: 400\">not\u003c/span>\u003ci> \u003c/i>\u003cspan style=\"font-weight: 400\">turn to a medium that \u003cem>never\u003c/em> gets it wrong in predicting the future: the movies? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Whether out of a desire for freedom of imagination, or just a fear of looking a bit silly when “2004” comes and goes without an apocalypse and/or flying cars, today’s filmmakers usually prefer to set their science fiction in a vague, undated version of The Future—one that allows for far more wiggle-room. Luckily, the hubristic action auteurs of the '80s, '90s, and early noughties clearly had \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">no \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">such qualms about firmly nailing their ideas to the proverbial church door, complete with conveniently firm calendar years. So, let’s see what the near future, as imagined by the sci-fi B-movies of yesteryear, apparently holds, shall we?\u003c/span>\u003c/p>\n\u003ch3>\u003cb>2017 as envisioned by... \u003c/b>\u003ca href=\"http://www.imdb.com/title/tt0093894/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cb>\u003ci>The Running Man\u003c/i>\u003c/b>\u003c/a>\u003cb> (1987)\u003c/b>\u003c/h3>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Tagline: Welcome to America in 2019, when the best men don't run for president... They run for their lives.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/i2FMhBg0h_8'\n title='//www.youtube.com/embed/i2FMhBg0h_8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Those of us lucky enough to have experienced this bonkers exemplar of 1980s Arnold Schwarzenegger excess know that the fact that its own \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">poster \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">disagrees with itself on which year it’s set (2019? 2017? Who cares!) is by far the least strange thing about it. Based on a short story by Stephen King, \u003cem>The Running Man\u003c/em> predicted that in 2017, America would be a suffocating, culture-free police state where the top-rated TV game show consists entirely of people murdering each other live every night. As bizarre—and let’s be honest, premature—as it feels to congratulate ourselves for this, we haven’t got to that last bit \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">quite \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">yet.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_86434\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-full wp-image-86434\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/arnold-2.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/arnold-2.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/arnold-2-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/arnold-2-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/arnold-2-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/arnold-2-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/arnold-2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former California Governor Arnold Schwarzenegger in 'The Running Man' \u003ccite>(TriStar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">A lot of commentators actually \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2017/01/in-1987-arnold-schwarzenegger-helped-to-predict-2017/512255/\" target=\"_blank\" rel=\"noopener noreferrer\">think \u003c/a>\u003ca href=\"http://www.bbc.com/future/story/20170105-why-we-may-be-living-in-the-future-of-the-running-man\" target=\"_blank\" rel=\"noopener noreferrer\">this movie\u003c/a> \u003ca href=\"https://motherboard.vice.com/en_us/article/the-trump-schwarzenegger-feud-shows-how-the-running-man-predicted-2017\" target=\"_blank\" rel=\"noopener noreferrer\">says a lot\u003c/a> \u003ca href=\"http://www.independent.co.uk/arts-entertainment/films/features/the-violent-post-truth-2017-predicted-in-the-running-man-we-re-living-in-it-a7506776.html\" target=\"_blank\" rel=\"noopener noreferrer\">about the way we live now\u003c/a>, and homicide aside, that's not so outlandish. Its loopy vision of the way reality TV and politics can become one really isn’t a foreign notion, with shiny spectacle being used by those in power as a distraction from totalitarian intent—by a U.S. President with a showbiz agent, no less. Neither is an appeal by those in power to the people’s baser impulses to acquire and retain that power. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s also something a little too familiar in the way the puppet-masters behind the show manipulate the truth to present an alternative reality for reality TV: one in which good guy Schwarzenegger, innocent of the crime he’s been imprisoned for, is parachuted into the show as prey and sold to the baying audience as a ruthless killer who deserves everything he gets. But before we get carried away lauding Arnie as the new Aldous Huxley, this movie also features a bunch of sweet jetpacks and a weird insistence on endless aerobic dance numbers (choreographed, incidentally, by Paula Abdul). And I don’t think we’re anywhere \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">near \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">as obsessed with aerobics right now as this movie thinks.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>2017 Plausibility Rating:\u003c/em> Thumbs up to reality TV and post-truth fake news, thumbs down for aerobics and jetpacks. \u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003cb>2017 as envisioned by... \u003c/b>\u003ca href=\"http://www.imdb.com/title/tt0115624/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cb>\u003ci>Barb Wire\u003c/i>\u003c/b>\u003c/a>\u003cb> (1996)\u003c/b>\u003c/h3>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Tagline: No Laws, No Limits, No Turning Back\u003c/span>\u003c/i>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/F2mk5MZwksg'\n title='//www.youtube.com/embed/F2mk5MZwksg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Now, a little less believability for your futurescape! This version of 2017, based on the comic book series of the same name, posits that by now this country will have been utterly ravaged by the “Second American Civil War”—exactly the kind of lawless environment in which titular mercenary, bounty hunter, and nightclub owner Barb Wire (Pamela Anderson) can easily hold down three jobs.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_86223\" class=\"wp-caption alignnone\" style=\"max-width: 768px\">\u003cimg class=\"size-full wp-image-86223\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/gallery-1483461030-barb-wire.jpg\" alt=\"\" width=\"768\" height=\"416\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/gallery-1483461030-barb-wire.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/gallery-1483461030-barb-wire-160x87.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/gallery-1483461030-barb-wire-240x130.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/gallery-1483461030-barb-wire-375x203.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/gallery-1483461030-barb-wire-520x282.jpg 520w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">Pamela Anderson in 'Barb Wire' \u003ccite>(Gramercy Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The plot, which claims to be “loosely based” on the plot of Casablanca, finds Barb becoming embroiled in a plot to help a group of freedom-loving folks escape over the border to—where else?—Canada. You may laugh, but didn’t overwhelming interest in emigrating to the land of Trudeau and universal healthcare \u003ca href=\"http://www.bbc.com/news/technology-37921376\" target=\"_blank\" rel=\"noopener noreferrer\">crash the Canadian Immigration and Citizenship website just after the 2016 U.S. election\u003c/a>? And that was \u003cem>without\u003c/em> a civil war to light the proverbial fire under you.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>2017 Plausibility Rating:\u003c/em> “Oui” to Canadian refuge, “Non” to outright civil war (yet—it’s only June, after all.)\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003cb>2017 as envisioned by... \u003c/b>\u003ca href=\"http://www.imdb.com/title/tt0106950/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cb>\u003ci>Fortress \u003c/i>\u003c/b>\u003c/a>\u003cb>(1992)\u003c/b>\u003c/h3>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Tagline: A Prison of the Future. A High-Tech Hell. Built to Hold Anything... Except an Innocent Man.\u003c/span>\u003c/i>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3U6oLx3xy8s'\n title='//www.youtube.com/embed/3U6oLx3xy8s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Unencumbered by any pretense of \u003ca href=\"https://youtu.be/pYMXduKStjs?t=1m45s\" target=\"_blank\" rel=\"noopener noreferrer\">a Scottish accent\u003c/a>, Christopher Lambert of \u003ca href=\"http://www.imdb.com/title/tt0091203/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Highlander \u003c/i>\u003c/a>fame plays an ex-army officer living under a regime that’s instituted a punitive one-child policy for all Americans. He attempts to flee with his pregnant wife over the border to—wait for it—Canada. In this dystopia, dissenters are dispatched to the Fortress of the title: a private maximum security prison run by the Men-Tel Corporation (if that’s not too subtle for you?), where inmates are implanted with \"Intestinators\" that’ll explode inside anyone trying to escape, and where second babies are declared illegal, extracted, and and turned into cyborgs. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_86224\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg class=\"size-full wp-image-86224\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/01119.jpg\" alt=\"\" width=\"600\" height=\"413\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/01119.jpg 600w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/01119-160x110.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/01119-240x165.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/01119-375x258.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/01119-520x358.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Christopher Lambert in 'Fortress' \u003ccite>(Dimension Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Early ‘90s action hokiness aside, the privatization of America’s justice system is far from a foreign notion, and the fertility plot admittedly offers some serious \u003c/span>\u003ca href=\"https://en.wikipedia.org/wiki/The_Handmaid%27s_Tale\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">Handmaid’s Tale\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> vibes for these troubling times. So if America stays its current course of viewing reproductive rights as an entirely optional thing, perhaps the most implausible thing about \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Fortress \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">by the end of this year will just be that tagline, which seems to quaintly suggest that prisoner innocence is somehow an entirely alien concept within the U.S. justice system. \u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>2017 Plausibility Rating:\u003c/em> “Aye” for the Prison Industrial Complex, Canadian utopia (again), and reproductive nightmares. “Nay” for cyborg babies.\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003cb>2018 as envisioned by... \u003c/b>\u003ca href=\"http://www.imdb.com/title/tt0438488/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>\u003ci>Terminator Salvation \u003c/i>\u003c/b>\u003c/a>\u003cb>(2009)\u003c/b>\u003c/h3>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Tagline: The End Begins\u003c/span>\u003c/i>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-Czz-TcWCkA'\n title='//www.youtube.com/embed/-Czz-TcWCkA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">This movie, which is more usually known as “The Terminator sequel with Christian Bale in it,” and which might actually be the most joyless action movie of the last decade, was the only one I could find explicitly set in the year 2018.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_86226\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-86226\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/Terminator_salvation_13.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/Terminator_salvation_13.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Terminator_salvation_13-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Terminator_salvation_13-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Terminator_salvation_13-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Terminator_salvation_13-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Terminator_salvation_13-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Terminator_salvation_13-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Terminator_salvation_13-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Terminator_salvation_13-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Terminator_salvation_13-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A Terminator in 'Terminator Salvation' \u003ccite>(Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">So dull is its vision of a post-apocalyptic America in ruins, most people don’t actually recall seeing \u003cem>Terminator Salvation\u003c/em>, even if they \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">have—\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">but in essence, this movie hypothesized that we’d have been at war with murderous cyborgs since 2003, who have also worked out how to genetically engineer human-cyborg hybrids. While 2003 wasn’t a great year for a lot of us, I don’t \u003cem>recall\u003c/em> a robot apocalypse taking place, so to be honest we don’t even need to give this one a 2018 Plausibility Rating.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003cb>2019 as envisioned by... \u003c/b>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ca href=\"http://www.imdb.com/title/tt0083658/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cb>\u003ci>Blade Runner\u003c/i>\u003c/b>\u003c/a>\u003cb> (1982)\u003c/b>\u003c/h3>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Tagline: Man Has Met His Match.. Now It’s His Problem\u003c/span>\u003c/i>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/eogpIG53Cis'\n title='//www.youtube.com/embed/eogpIG53Cis'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Trust me, I’m as angry as you are about the fact that \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Blade Runner\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is appearing in the same round-up as\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> Terminator Salvation\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Barb Wire—\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">but as concretely-timestamped imaginings of the hell that awaits us in the future, they don’t come finer. \u003c/span>\u003cspan style=\"font-weight: 400\">To get the (synthetic) elephant in the room out of the way: it’s highly unlikely that by 2019, humankind will have expanded into space so comprehensively as to have created the off-world colonies imagined in this movie. Or that we’ll have\u003ca href=\"http://bladerunner.wikia.com/wiki/Priscilla_Stratton\" target=\"_blank\" rel=\"noopener noreferrer\"> sentient, angsty replicants that look like Darryl Hannah\u003c/a>, let alone an entire division of the LAPD dedicated to hunting them down. But because \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Blade Runner\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is a truly great movie from the mind of Philip K. Dick, it dares to make some interesting, considered thought-out predictions about what 2019 might look and feel like beyond just “there will be jumpsuits.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_86227\" class=\"wp-caption alignnone\" style=\"max-width: 1600px\">\u003cimg class=\"size-full wp-image-86227\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/Blade_Runner_1982_673.jpg\" alt=\"\" width=\"1600\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/Blade_Runner_1982_673.jpg 1600w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Blade_Runner_1982_673-160x80.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Blade_Runner_1982_673-800x400.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Blade_Runner_1982_673-768x384.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Blade_Runner_1982_673-1020x510.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Blade_Runner_1982_673-1180x590.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Blade_Runner_1982_673-960x480.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Blade_Runner_1982_673-240x120.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Blade_Runner_1982_673-375x188.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Blade_Runner_1982_673-520x260.jpg 520w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">2019 L.A., flying cars and all, in 'Blade Runner' \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Many futuristic movies insist on imbuing their settings with a blown-out shininess that’s meant to be a visual signifier of The Future, but\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> Blade Runner \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">at least nails \u003ca href=\"https://www.youtube.com/watch?v=aFJF2CRASRM\" target=\"_blank\" rel=\"noopener noreferrer\">how polluted and grimy any big American city will almost certainly look in two years’ time\u003c/a>—gigantic, oppressive digital billboards and all. One of the more intriguing, plausible predictions is a change in spoken language—people in \u003cem>Blade Runner\u003c/em>’s 2019 Los Angeles speak a new patois that mixes European and East Asian languages, which is not far fetched at all. Also, space exploration in this world seems to be pretty privatized, which, \u003ca href=\"http://www.virgingalactic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">if Richard Branson gets his way\u003c/a>, is exactly how it’ll be.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>2019 Plausibility Rating\u003c/em>: Off-world colonies, replicants and (yes) flying cars—probably not. Pretty much everything else—seems legit.\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003cb>2019 as envisioned by... \u003c/b>\u003cb>\u003ci>The Island\u003c/i>\u003c/b>\u003cb> (2005)\u003c/b>\u003c/h3>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Tagline: Plan Your Escape\u003c/span>\u003c/i>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/_ZyNJ3cKfEg'\n title='//www.youtube.com/embed/_ZyNJ3cKfEg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Up against \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Blade Runner, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">all other visions of 2019 seem a tad redundant, which makes this utterly forgotten clunker from the strange days when “they” were trying to make Ewan McGregor an action hero even less worthy of your consideration. In this version of 2019, if you’re rich, you can afford your own handy identical clone, which will live its own life, until you’re in need of a new eye, or arm, or surrogate womb—at which point, your doppelgänger is ruthlessly harvested for its constituent parts. But your clone doesn’t \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">know \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">it’s a clone! What happens when the clones fight back?\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_86228\" class=\"wp-caption alignnone\" style=\"max-width: 1600px\">\u003cimg class=\"size-full wp-image-86228\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/FILzMNQQm157PL_1_a.jpg\" alt=\"\" width=\"1600\" height=\"900\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/FILzMNQQm157PL_1_a.jpg 1600w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/FILzMNQQm157PL_1_a-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/FILzMNQQm157PL_1_a-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/FILzMNQQm157PL_1_a-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/FILzMNQQm157PL_1_a-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/FILzMNQQm157PL_1_a-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/FILzMNQQm157PL_1_a-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/FILzMNQQm157PL_1_a-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/FILzMNQQm157PL_1_a-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/FILzMNQQm157PL_1_a-520x293.jpg 520w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Scarlett Johansson and Ewan McGregor in 'The Island' \u003ccite>(DreamWorks Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Even though it’s sort of another imagining of a 2019 society that sees synthetic people as an acceptable moral compromise in the face of mortal frailty, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Island\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is a \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">tad \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">less concerned than \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Blade Runner\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> with the devastating philosophical complexities of what it truly means to be human. In other words, it's basically \u003c/span>\u003ca href=\"https://en.wikipedia.org/wiki/Never_Let_Me_Go_(novel)\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">Never Let Me Go \u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">for morons.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>2019 Plausibility Rating:\u003c/em> A probably-nope for clone harvesting (I mean, it is two whole years away) and a definitely-nope for Ewan McGregor as action hero—in 2019, or any other year.\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003cb>2020 as envisioned by... \u003c/b>\u003ca href=\"https://www.imdb.com/title/tt0253556/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cb>\u003ci>Reign of Fire \u003c/i>\u003c/b>\u003c/a>\u003cb>(2002)\u003c/b>\u003c/h3>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Tagline: Fight Fire With Fire\u003c/span>\u003c/i>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Wg7bjwEXp7Y'\n title='//www.youtube.com/embed/Wg7bjwEXp7Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Yes, if we haven’t been wiped out by the Second American Civil War or a robo-apocalypse by then, we will have to undergo another U.S. presidential election. But according to this movie, we might have bigger problems in 2020… because we’ll be at war with dragons.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_86230\" class=\"wp-caption alignnone\" style=\"max-width: 720px\">\u003cimg class=\"size-full wp-image-86230\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/reign-of-fire.jpg\" alt=\"\" width=\"720\" height=\"304\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/reign-of-fire.jpg 720w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/reign-of-fire-160x68.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/reign-of-fire-240x101.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/reign-of-fire-375x158.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/reign-of-fire-520x220.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">'Reign of Fire' \u003ccite>(Buena Vista Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Because \u003ca href=\"https://en.wikipedia.org/wiki/Reign_of_Fire_(film)\" target=\"_blank\" rel=\"noopener noreferrer\">Wikipedia synopses\u003c/a> often say it best, this movie is set “twenty years after London tunneling project workers inadvertently awakened dragons from centuries of slumber and the creatures have subsequently replaced humans as the dominant species on Earth.” The War on Dragons, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Reign of Fire \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">supposes, will have knocked mankind back to a kind of Dark Ages, where flaming crossbows are our primary weapons, and all men must sport impressive beards. There’s very little else to say about this—admittedly very fun—film, other than that it boasts Matthew McConaughey at the very nascence of the career resurrection known as “\u003ca href=\"http://www.newyorker.com/culture/culture-desk/the-mcconaissance\" target=\"_blank\" rel=\"noopener noreferrer\">The McConaissance\u003c/a>,” and is a way better futuristic movie starring Christian Bale than \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Terminator Salvation\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>2020 Plausibility Rating\u003c/em>: Why am I even asking. 100%!\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>In summary, if low-grade sci-fi movies (and \u003cem>Blade Runner\u003c/em>) offer us any wise predictions for the next four years, it’s that:\u003c/b>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Cloning and/or cyborg-human hybrids are just around the corner.\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">That very technology will almost certain try to kill us.\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">If it doesn’t manage it, privatization and the corporate interests of a shadowy business elite will instead.\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">You should submit your asylum application to Canada right now to beat the rush.\u003c/span>\u003c/li>\n\u003c/ul>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "What Do Bad Sci-Fi Movies Predict for the Next Few Years?",
"title": "What Do Bad Sci-Fi Movies Predict for the Next Few Years?",
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"content": "\u003cp>Get ready for cyborg babies, televised death matches, and lots o' dragons! Also, we investigate the Song of the Summer phenomenon and share a few 2017 contenders.\u003c/p>\n\u003cp>[audio src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2017/06/Future.mp3\" title=\"What Do Bad Sci-Fi Movies Predict for the Next Few Years?\" program=\"The Cooler\" image=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/clo.jpg\"]\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp> \u003c/p>\n\u003cp>What's in store for us over the next couple of years? Bad sci-fi movies might have the answer:\u003c/p>\n\u003cp>https://ww2.kqed.org/pop/2017/06/15/heres-what-the-future-has-in-store-according-to-sci-fi-movies/\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/wever.gif\">\u003cimg class=\"aligncenter size-full wp-image-86436\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/wever.gif\" alt=\"\" width=\"480\" height=\"270\">\u003c/a>\u003c/p>\n\u003cp>Which song will we not be able to get away from this summer?\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/titus.gif\">\u003cimg class=\"aligncenter size-full wp-image-86433\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/titus.gif\" alt=\"\" width=\"220\" height=\"247\">\u003c/a>\u003c/p>\n\u003cp>Why are Florida girls pissed about LaCroix?\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/dDpWj2n.gif\">\u003cimg class=\"aligncenter size-full wp-image-86431\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/dDpWj2n.gif\" alt=\"\" width=\"268\" height=\"247\">\u003c/a>\u003c/p>\n\u003cp>And why is Len's \"Steal My Sunshine\" still so good?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=E1fzJ_AYajA\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Until next week! \u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\" rel=\"noopener noreferrer\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook\u003c/a> & \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\" rel=\"noopener noreferrer\">Twitter\u003c/a>!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/wever.gif\">\u003cimg class=\"aligncenter size-full wp-image-86436\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/wever.gif\" alt=\"\" width=\"480\" height=\"270\">\u003c/a>\u003c/p>\n\u003cp>Which song will we not be able to get away from this summer?\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/titus.gif\">\u003cimg class=\"aligncenter size-full wp-image-86433\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/titus.gif\" alt=\"\" width=\"220\" height=\"247\">\u003c/a>\u003c/p>\n\u003cp>Why are Florida girls pissed about LaCroix?\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/dDpWj2n.gif\">\u003cimg class=\"aligncenter size-full wp-image-86431\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/dDpWj2n.gif\" alt=\"\" width=\"268\" height=\"247\">\u003c/a>\u003c/p>\n\u003cp>And why is Len's \"Steal My Sunshine\" still so good?\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/E1fzJ_AYajA'\n title='//www.youtube.com/embed/E1fzJ_AYajA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Until next week! \u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\" rel=\"noopener noreferrer\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook\u003c/a> & \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\" rel=\"noopener noreferrer\">Twitter\u003c/a>!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cy-and-ericas-picks-monterey-pop-bless-me-ultima-the-opera-and-a-visit-to-north-beach",
"title": "Cy and Erica's Picks: Monterey Pop, Bless Me Ultima: The Opera, and a Visit to North Beach",
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"content": "\u003cp>This week my co-host \u003ca href=\"https://www.poetryfoundation.org/poems-and-poets/poets/detail/erica-lewis\" target=\"_blank\" rel=\"noopener noreferrer\">Erica Lewis\u003c/a> takes us to North Beach, a neighborhood famous for literature and music, and she reads a poem from her new collection \u003cem>Mary Wants to Be a Superwoman\u003c/em> about her black, white and Cherokee heritage. Somehow we couldn’t fit in the fact that \u003ca href=\"http://sfbotanicalgarden.org/flowerpiano/\" target=\"_blank\" rel=\"noopener noreferrer\">Flower Piano\u003c/a> is back at the San Francisco Botanical Garden, or that this week sees the return of two film festivals: The \u003ca href=\"https://ww2.kqed.org/arts/2017/06/12/now-playing-danny-glover-delivers-at-the-sf-black-film-festival/\" target=\"_blank\" rel=\"noopener noreferrer\">SF Black Film Festival\u003c/a> (with an appearance from Danny Glover), and the \u003ca href=\"https://www.frameline.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco International LGBTQ Film Festival (Frameline)\u003c/a>, providing essential viewing for communities that often get short shrift in Hollywood. Now on with the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xNrygTqx0FA\u003cbr>\n\u003cstrong>June 16–18:\u003c/strong> The Monterey International Pop Festival is back, 50 years after it set the standard for the modern rock festival. In many ways, the Summer of Love in San Francisco was a rather dreary few months, but the bands and the hippies made for an inspiring musical event at the Monterey County Fairgrounds. Monterey Pop made the reputations for so many bands: Jimi Hendrix, Steve Miller, Janis Joplin and Big Brother and the Holding Company, Jefferson Airplane, Country Joe and the Fish and the Grateful Dead.\u003cbr>\nMany of the artists appearing this year are doing tributes to the great performers of 50 years ago: Leon Bridges is channeling Otis Redding (who was riveting), blues guitarist Gary Clark Jr stands in for Jimi Hendrix (though no word on whether he’s going to immolate his guitar as Hendrix did), and the Head and the Heart fill in for the Mamas and the Papas. If you can’t go, stream the classic D. A. Pennebaker film \u003cem>Monterey Pop\u003c/em> and look for Otis Redding singing “I’ve Been Loving You Too Long.” \u003ca href=\"https://montereypopfestival50.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13437198\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13437198\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Surrealistic-Conservatory-of-Flower-800x400.jpg\" alt=\"The San Francisco Conservatory of Flowers all dressed up for a city sponsored Summer of Love concert\" width=\"800\" height=\"400\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Conservatory of Flowers all dressed up for a city-sponsored Summer of Love concert.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 21\u003c/strong>: The city of San Francisco is putting on its own Summer of Love concert (despite the legal fight with a promoter trying to do the same) at the Conservatory of Flowers in Golden Gate Park, with a free concert with former members of the Jefferson Airplane, the Chambers Brothers, Moonalice and others. Just in time for solstice. Details \u003ca href=\"https://www.eventbrite.com/e/surrealistic-summer-solstice-concert-and-grand-lighting-tickets-34076313170\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13437199\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13437199\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/HeLa.jpg\" alt=\"Khary Moye and Jeunée Simon play Day and Henrietta Lacks in the TheatreFIRST world premiere of Lauren Gunderson and Geetha Reddy’s HeLa at Berkeley’s Black Oak Theatre\" width=\"500\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HeLa.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HeLa-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HeLa-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HeLa-375x250.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Khary Moye and Jeunée Simon play Day and Henrietta Lacks in the TheatreFIRST world premiere of Lauren Gunderson and Geetha Reddy’s HeLa at Berkeley’s Black Oak Theatre. \u003ccite>(Photo: Cheshire Isaacs/TheatreFIRST)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through June 17\u003c/strong>: \u003cem>HeLa\u003c/em> is a world premiere play by Lauren Gunderson and Geetha Reddy, playwrights who often write about women and science. HeLa is about Henrietta Lacks, the African American woman (profiled in a \u003ca href=\"http://rebeccaskloot.com/the-immortal-life/\" target=\"_blank\" rel=\"noopener noreferrer\">Rebecca Skloot\u003c/a> book and \u003ca href=\"http://www.hbo.com/movies/the-immortal-life-of-henrietta-lacks\" target=\"_blank\" rel=\"noopener noreferrer\">HBO film\u003c/a>) who died of cervical cancer in 1951, but whose cells have lived on, and been exploited by scientists without permission from the family. \u003ca href=\"http://theatrefirst.com/about/mission/\" target=\"_blank\" rel=\"noopener noreferrer\">TheatreFIRST\u003c/a> Artistic Director Jon Tracy has pledged that at least half of the shows the company will produce will be by female-identified authors, with a majority written by people of color. Good start. \u003ca href=\"http://theatrefirst.com/hela/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=C_HEU68f96w\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>June 17\u003c/strong>: \u003cem>Bless Me Ultima, \u003c/em>by Rudolfo Anaya, is the quintessential Mexican-American novel and perhaps soon the quintessential Mexican American opera, or so its producers are hoping. Composer and librettist Héctor Armienta at San Jose’s \u003ca href=\"http://www.operacultura.org/calendar/Bless-Me-Ultima_2017\" target=\"_blank\" rel=\"noopener noreferrer\">Opera Cultura\u003c/a> has been working for some years now on a musical version of this story set in New Mexico. It’s the tale of Antonio and the story of his coming of age in rural New Mexico under the care of a spiritual guide and healer named Ultima. Details for the workshop performance at San Jose’s Movimiento de Arte y Cultura Latino Americana, better known as MACLA, \u003ca href=\"http://www.operacultura.org/calendar/Bless-Me-Ultima_2017\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13437219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13437219\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-800x437.jpg\" alt=\"Emcee Infinite presents a rap opera with Opera Cultura\" width=\"800\" height=\"437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-800x437.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-768x420.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-1020x558.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-960x525.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-240x131.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-375x205.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-520x284.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947.jpg 1136w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emcee Infinite presents a rap opera with Opera Cultura. \u003ccite>(Photo: Courtesy of Emcee Infinite)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 24\u003c/strong>:Opera Cultura has another intriguing project. Rapper Carlos Aguirre, known as Infinite, has teamed up with singer Alexandra Sessler to work with San Jose youth, including kids at juvenile hall. They’ve been creating a rap opera, and Aguirre and Sessler have shaped the kids’ songs into \u003cem>The Rap Opera Project. \u003c/em>\u003ca href=\"http://www.operacultura.org/calendar/The-Rap-Opera-Project_2017\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cLsWHq3U7n0\u003cbr>\n\u003cstrong>June 22–24\u003c/strong>: Joe Goode is celebrating his 30th anniversary making dances for his own company. He’s a choreographer whose work can resemble dance plays, with dialogue and characters addressing the audience. This celebration at the Yerba Buena Center for the Arts features \u003cem>Nobody Lives Here Now, \u003c/em>about the aging process for a dancer, and how fragile our bodies are. That concern about our failing bodies is a preoccupation for Goode and many Baby Boomers (speaking from personal experience). Erica noted this dance is about the unglamorized body, a welcome break from the artificial standards we all fail to live by. Details for the Joe Goode Performance Group show \u003ca href=\"https://ybca.org/whats-on/joe-goode\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13437270\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13437270\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-800x491.jpeg\" alt=\"Cy Musiker and Poet Erica Lewis at the Comstock Saloon\" width=\"800\" height=\"491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-800x491.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-160x98.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-768x472.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-1020x627.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-1920x1180.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-1180x725.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-960x590.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-240x147.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-375x230.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-520x319.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cy Musiker and Poet Erica Lewis at the Comstock Saloon. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To fully appreciate these next items, you’ll have to listen along with the Do List episode (the podcast is above; go ahead and click “play”). Erica and I met for a drink and a talk about San Francisco’s literary history at the \u003ca href=\"https://comstocksaloon.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Comstock Saloon\u003c/a>, a bar and restaurant in North Beach.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KabkFfwJK3E\u003c/p>\n\u003cp>\u003cstrong>June 18 & 20:\u003c/strong> First, we talked about the prolific trombonist Adam Theis and his upcoming show with a big band at Doc’s Lab in North Beach (the former home of the Purple Onion, where Woody Allen and Richard Pryor got their starts). \u003ca href=\"http://www.docslabsf.com/event/1469660-electric-squeezebox-orchestra-san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. And we had to mention Theis’ other gig at the Black Cat, not far away in the Tenderloin, on June 20. \u003ca href=\"http://www.blackcatsf.com/event/jazz-mafia-accomplices-3-2/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x4tGJLqZ4-k\u003c/p>\n\u003cp>\u003cstrong>June 18\u003c/strong>: And then Erica read from her new collection of poems \u003ca href=\"https://thirdmanbooks.com/books/mary-wants-to-be-a-superwoman-tmb015-isbn978-0-9964016-1-6/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mary Wants to Be a Superwoman\u003c/em>\u003c/a>, about her family and her black, white and Cherokee heritage. Details for her reading Sunday at \u003ca href=\"http://www.birdbeckett.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bird and Becket Books and Records\u003c/a> in San Francisco’s Glen Park neighborhood on Sunday afternoon \u003ca href=\"http://www.birdbeckett.com/triple-header-erica-lewis-the-erik-jekabson-quintet-with-john-santos-the-grant-levin-trio/\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Erica — thanks so much for being the Do List co-host this week!\u003c/p>\n\u003cfigure id=\"attachment_13437284\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13437284\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-800x600.jpg\" alt=\"Cy Musiker and Erica Lewis in KQED's Studio B\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cy Musiker and Erica Lewis in KQED’s Studio B. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "KQED's Cy Musiker follows poet Erica Lewis for a journey through North Beach — and a host of hot picks for this week.",
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"title": "Cy and Erica's Picks: Monterey Pop, Bless Me Ultima: The Opera, and a Visit to North Beach | KQED",
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"headline": "Cy and Erica's Picks: Monterey Pop, Bless Me Ultima: The Opera, and a Visit to North Beach",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week my co-host \u003ca href=\"https://www.poetryfoundation.org/poems-and-poets/poets/detail/erica-lewis\" target=\"_blank\" rel=\"noopener noreferrer\">Erica Lewis\u003c/a> takes us to North Beach, a neighborhood famous for literature and music, and she reads a poem from her new collection \u003cem>Mary Wants to Be a Superwoman\u003c/em> about her black, white and Cherokee heritage. Somehow we couldn’t fit in the fact that \u003ca href=\"http://sfbotanicalgarden.org/flowerpiano/\" target=\"_blank\" rel=\"noopener noreferrer\">Flower Piano\u003c/a> is back at the San Francisco Botanical Garden, or that this week sees the return of two film festivals: The \u003ca href=\"https://ww2.kqed.org/arts/2017/06/12/now-playing-danny-glover-delivers-at-the-sf-black-film-festival/\" target=\"_blank\" rel=\"noopener noreferrer\">SF Black Film Festival\u003c/a> (with an appearance from Danny Glover), and the \u003ca href=\"https://www.frameline.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco International LGBTQ Film Festival (Frameline)\u003c/a>, providing essential viewing for communities that often get short shrift in Hollywood. Now on with the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xNrygTqx0FA\u003cbr>\n\u003cstrong>June 16–18:\u003c/strong> The Monterey International Pop Festival is back, 50 years after it set the standard for the modern rock festival. In many ways, the Summer of Love in San Francisco was a rather dreary few months, but the bands and the hippies made for an inspiring musical event at the Monterey County Fairgrounds. Monterey Pop made the reputations for so many bands: Jimi Hendrix, Steve Miller, Janis Joplin and Big Brother and the Holding Company, Jefferson Airplane, Country Joe and the Fish and the Grateful Dead.\u003cbr>\nMany of the artists appearing this year are doing tributes to the great performers of 50 years ago: Leon Bridges is channeling Otis Redding (who was riveting), blues guitarist Gary Clark Jr stands in for Jimi Hendrix (though no word on whether he’s going to immolate his guitar as Hendrix did), and the Head and the Heart fill in for the Mamas and the Papas. If you can’t go, stream the classic D. A. Pennebaker film \u003cem>Monterey Pop\u003c/em> and look for Otis Redding singing “I’ve Been Loving You Too Long.” \u003ca href=\"https://montereypopfestival50.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13437198\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13437198\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Surrealistic-Conservatory-of-Flower-800x400.jpg\" alt=\"The San Francisco Conservatory of Flowers all dressed up for a city sponsored Summer of Love concert\" width=\"800\" height=\"400\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Conservatory of Flowers all dressed up for a city-sponsored Summer of Love concert.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 21\u003c/strong>: The city of San Francisco is putting on its own Summer of Love concert (despite the legal fight with a promoter trying to do the same) at the Conservatory of Flowers in Golden Gate Park, with a free concert with former members of the Jefferson Airplane, the Chambers Brothers, Moonalice and others. Just in time for solstice. Details \u003ca href=\"https://www.eventbrite.com/e/surrealistic-summer-solstice-concert-and-grand-lighting-tickets-34076313170\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13437199\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13437199\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/HeLa.jpg\" alt=\"Khary Moye and Jeunée Simon play Day and Henrietta Lacks in the TheatreFIRST world premiere of Lauren Gunderson and Geetha Reddy’s HeLa at Berkeley’s Black Oak Theatre\" width=\"500\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HeLa.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HeLa-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HeLa-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HeLa-375x250.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Khary Moye and Jeunée Simon play Day and Henrietta Lacks in the TheatreFIRST world premiere of Lauren Gunderson and Geetha Reddy’s HeLa at Berkeley’s Black Oak Theatre. \u003ccite>(Photo: Cheshire Isaacs/TheatreFIRST)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through June 17\u003c/strong>: \u003cem>HeLa\u003c/em> is a world premiere play by Lauren Gunderson and Geetha Reddy, playwrights who often write about women and science. HeLa is about Henrietta Lacks, the African American woman (profiled in a \u003ca href=\"http://rebeccaskloot.com/the-immortal-life/\" target=\"_blank\" rel=\"noopener noreferrer\">Rebecca Skloot\u003c/a> book and \u003ca href=\"http://www.hbo.com/movies/the-immortal-life-of-henrietta-lacks\" target=\"_blank\" rel=\"noopener noreferrer\">HBO film\u003c/a>) who died of cervical cancer in 1951, but whose cells have lived on, and been exploited by scientists without permission from the family. \u003ca href=\"http://theatrefirst.com/about/mission/\" target=\"_blank\" rel=\"noopener noreferrer\">TheatreFIRST\u003c/a> Artistic Director Jon Tracy has pledged that at least half of the shows the company will produce will be by female-identified authors, with a majority written by people of color. Good start. \u003ca href=\"http://theatrefirst.com/hela/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/C_HEU68f96w'\n title='//www.youtube.com/embed/C_HEU68f96w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>June 17\u003c/strong>: \u003cem>Bless Me Ultima, \u003c/em>by Rudolfo Anaya, is the quintessential Mexican-American novel and perhaps soon the quintessential Mexican American opera, or so its producers are hoping. Composer and librettist Héctor Armienta at San Jose’s \u003ca href=\"http://www.operacultura.org/calendar/Bless-Me-Ultima_2017\" target=\"_blank\" rel=\"noopener noreferrer\">Opera Cultura\u003c/a> has been working for some years now on a musical version of this story set in New Mexico. It’s the tale of Antonio and the story of his coming of age in rural New Mexico under the care of a spiritual guide and healer named Ultima. Details for the workshop performance at San Jose’s Movimiento de Arte y Cultura Latino Americana, better known as MACLA, \u003ca href=\"http://www.operacultura.org/calendar/Bless-Me-Ultima_2017\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13437219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13437219\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-800x437.jpg\" alt=\"Emcee Infinite presents a rap opera with Opera Cultura\" width=\"800\" height=\"437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-800x437.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-768x420.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-1020x558.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-960x525.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-240x131.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-375x205.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-520x284.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947.jpg 1136w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emcee Infinite presents a rap opera with Opera Cultura. \u003ccite>(Photo: Courtesy of Emcee Infinite)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 24\u003c/strong>:Opera Cultura has another intriguing project. Rapper Carlos Aguirre, known as Infinite, has teamed up with singer Alexandra Sessler to work with San Jose youth, including kids at juvenile hall. They’ve been creating a rap opera, and Aguirre and Sessler have shaped the kids’ songs into \u003cem>The Rap Opera Project. \u003c/em>\u003ca href=\"http://www.operacultura.org/calendar/The-Rap-Opera-Project_2017\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cLsWHq3U7n0\u003cbr>\n\u003cstrong>June 22–24\u003c/strong>: Joe Goode is celebrating his 30th anniversary making dances for his own company. He’s a choreographer whose work can resemble dance plays, with dialogue and characters addressing the audience. This celebration at the Yerba Buena Center for the Arts features \u003cem>Nobody Lives Here Now, \u003c/em>about the aging process for a dancer, and how fragile our bodies are. That concern about our failing bodies is a preoccupation for Goode and many Baby Boomers (speaking from personal experience). Erica noted this dance is about the unglamorized body, a welcome break from the artificial standards we all fail to live by. Details for the Joe Goode Performance Group show \u003ca href=\"https://ybca.org/whats-on/joe-goode\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13437270\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13437270\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-800x491.jpeg\" alt=\"Cy Musiker and Poet Erica Lewis at the Comstock Saloon\" width=\"800\" height=\"491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-800x491.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-160x98.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-768x472.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-1020x627.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-1920x1180.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-1180x725.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-960x590.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-240x147.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-375x230.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-520x319.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cy Musiker and Poet Erica Lewis at the Comstock Saloon. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To fully appreciate these next items, you’ll have to listen along with the Do List episode (the podcast is above; go ahead and click “play”). Erica and I met for a drink and a talk about San Francisco’s literary history at the \u003ca href=\"https://comstocksaloon.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Comstock Saloon\u003c/a>, a bar and restaurant in North Beach.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/KabkFfwJK3E'\n title='//www.youtube.com/embed/KabkFfwJK3E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 18 & 20:\u003c/strong> First, we talked about the prolific trombonist Adam Theis and his upcoming show with a big band at Doc’s Lab in North Beach (the former home of the Purple Onion, where Woody Allen and Richard Pryor got their starts). \u003ca href=\"http://www.docslabsf.com/event/1469660-electric-squeezebox-orchestra-san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. And we had to mention Theis’ other gig at the Black Cat, not far away in the Tenderloin, on June 20. \u003ca href=\"http://www.blackcatsf.com/event/jazz-mafia-accomplices-3-2/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/x4tGJLqZ4-k'\n title='//www.youtube.com/embed/x4tGJLqZ4-k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 18\u003c/strong>: And then Erica read from her new collection of poems \u003ca href=\"https://thirdmanbooks.com/books/mary-wants-to-be-a-superwoman-tmb015-isbn978-0-9964016-1-6/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mary Wants to Be a Superwoman\u003c/em>\u003c/a>, about her family and her black, white and Cherokee heritage. Details for her reading Sunday at \u003ca href=\"http://www.birdbeckett.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bird and Becket Books and Records\u003c/a> in San Francisco’s Glen Park neighborhood on Sunday afternoon \u003ca href=\"http://www.birdbeckett.com/triple-header-erica-lewis-the-erik-jekabson-quintet-with-john-santos-the-grant-levin-trio/\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Erica — thanks so much for being the Do List co-host this week!\u003c/p>\n\u003cfigure id=\"attachment_13437284\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13437284\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-800x600.jpg\" alt=\"Cy Musiker and Erica Lewis in KQED's Studio B\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cy Musiker and Erica Lewis in KQED’s Studio B. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
"link": "/podcasts/rightnowish",
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